In honor of Read-A-Romance Month and Romance Awareness Month, this August we’ll once again be sharing some new, focused insights of indie romance authors who have been navigating the world of the genre and writing all about love in their latest novels. To read this year’s article, click here! Here, you can read the full interview with Brighton Walsh. For her website and social media, see below!
How did you first get into writing romance novels – why romance? Do you have any stories you’d like to share about your initial experiences in this particular genre and how they have influenced your journey going forward?
I’ve been writing romance stories for as long as I can remember. A childhood friend and I had an ongoing soap opera style romance that we’d tell back and forth when we were maybe twelve? So it’s been in my soul forever. And then once I got sucked into the world of Twilight fanfiction, it was all over. I dove headfirst into romance and I never want to come out. Romance is the best of everything in this world, so of course I want to bask in it all day, every day!
What does your writing process typically look like? Where do you gain inspiration from, especially because there is a depth and complexity to these stories that set them apart from traditional conceptions of romance novels?
My writing process changes and evolves with every book I write, so it’s never the same twice. Generally, though, I start with an idea of two characters. Then I decide what tropes would work well for them. Once I have that, I like to do what I call my inputting season. I gorge as much content as possible with those vibes—could be the same tropes, or maybe just the feel of it, or a singular character. I read and watch everything I can. I consume short video content (TikToks or Reels), I mindlessly scroll Pinterest, I listen to songs with the right vibe. Then, once I’m fully immersed, I start plotting. This usually goes awry at some point while I’m writing, but I have my framework to draft from. Then, I write. I try to dictate as much as I can because of physical restrictions, and then I revise/edit. I’m a fairly clean writer, so there’s not usually a ton of revisions. Then off to the editor it goes.
How do you approach determining the nature of the plot or the trope(s) that you pursue in a given novel? Do you tend to stick with what is popular among readers or what is trending at the moment?
I don’t usually focus on what’s trending because that comes and goes. But if I’m writing a series with four books, I’m going to do everything I can to put the hottest-at-the-moment trope(s) in book one. First and foremost, I start with what I like. Because writing a book I’m not interested in sounds absolutely dreadful. Then I take into account other canon attributes (if it’s set in an existing town with existing characters and lore, for instance). Then I look at my butter/id lists (those hot button items we love reading/writing) and stuff as many as I can into the book.
Are there other key decisions at any point in the writing process that you tend to struggle with, or that are particularly notable?
Just facing that blank page. It’s always the hardest, most intimidating part of writing, no matter how many dozens of books I’ve written.
How do you curate a cohesive aesthetic and visuals for your stories and series? What about the creation of merchandise that pairs with your stories? What sorts of artists and creatives do you normally consult for your vision to be realized?
I was a photographer and graphic designer before I became a full-time author, so I have a pretty good idea of what I like and want for a book or series. I do a lot of research, check out what’s hot right now in the romance space, and move forward with that in mind. I’ve partnered with illustrators because I do not have any drawing skills, but the designs are usually my brainchild. I also have an amazing assistant who is fabulous with branding and making sure I stay on track. Based on my existing brand or my idea for a book/series, she creates the base for almost everything, excepting covers, and I tweak until it’s just right.
Going off of this, explain the process of seeking out and attaining cover photos/art for your books. What is it like to choose designs and/or models that best fit your story?
Finding photos for my books is honestly one of the worst parts! Searching stock photo sites is pretty awful, and while using exclusive images is better, there are only so many. That was part of the reason I went with illustrated for my current release because I could have my illustrator draw whatever I wanted and wasn’t at the mercy of what model was currently available.
If you use real people on your covers, is it difficult to find models that align with the characters in your mind? Do you pick the model(s) before or after writing the character or couple?
Very difficult! I’ve chosen them both ways, but generally, it’s done after the book has been writing, so it’s sometimes like shoving a square peg into a round hole.
When it comes to illustrated or discreet covers, whether this be cartoon illustrations or more subtle designs, what is your thought process?
I want something pretty that readers want to display on their shelves, so I always design them by thinking about what I want to display on my shelves. For the discreet covers, I also removed all exterior content so the blurb is on the inside of the book, making it a truly discreet option.
To what extent has the cover design process changed/evolved over time based on trends and the cover styles and design choices that are deemed most popular at the moment? What is your overall perception of the fluctuating nature of book aesthetics? How have these been impacted by both reader preferences and social media discourse?
In the years I’ve been doing this, the styles have changed so many times. When I was traditionally published, I was at the whims of the publisher and had to follow what they commissioned. It worked for some (discreet before discreet was a buzz word) and not for others (women on covers just don’t sell as well in romance). But with my self-published books, I’m able to adjust to those trends and alter when possible. It also helps that I design my own covers, so there is not a cost barrier when updating backlist books.
Now, though, I do believe we’ve slipped backward a bit in cover style. So many readers, specifically in romance, are ashamed to show off what they’re reading which I think contributed to the boom of both illustrated and discreet cover design styles.
On a personal level, I don’t love that. Not the designs—I actually quite like them and have many for my shelves! But when those designs come because of shame, I hate that. I’m firmly against anything that’s rooted in patriarchal standards and misogyny, including sneering at things generally loved by women. Heaven forbid we have a shirtless man on a cover! What will the children think?! (Spoiler alert: my children thought absolutely nothing of the hundreds I had on my shelves while they were growing up. It’s fine.)
On a professional level, I do what the market calls for, and right now, it’s calling for discreet in addition to a more person-focused cover, so I do both.
Social media, particularly TikTok in recent years, has played a huge role in book promotion with the advent of “BookTok” and the progression of online fandom activities that have existed for decades. How has social media provided a platform for promoting/marketing your books and creating a fandom space for your novels? Do you have any notable stories in mind about your works going viral or skyrocketing via social media?
BookTok definitely changed the game. I’ve had several books go viral on TikTok and garner the “Best of BookTok” tag on Amazon. It’s been an interesting study in marketing, for sure. But besides that, it’s also helped me write better books. By having more direct access to what readers are loving and raving about, it’s allowed me to think of how I could insert similar situations or feels into the books I’m writing, which has led me to crafting more bingeable, buzz worthy books.
More generally, how do you navigate the ever-changing ebb and flow of trends and popular preferences within the online book community? Feel free to share your thoughts about the dynamics of the community itself, as well as your approach to it.
I think my tastes change right along with the readers, because I actually don’t notice this that much. The focus on tropes now is extremely helpful while writing (and also while reading), but going back to books I wrote in 2013 and trying to market them is challenging, because while tropes were there, they weren’t as front and center as they are now. As for what’s popular, I just write what I like. I’m going to pick something that I think has commercial appeal, of course, but I’m not going to write something I don’t care for just because it’s the hot trend at the moment. As I said, that sounds dreadful.
Going off of this, readers are more connected to authors than ever through social media and independent publishing. How do you feel about this sense of connection and attainability?
I love having that sense of community with my readers! I’ve been lucky enough that all of mine have remained respectful and haven’t crossed any boundaries, which has been a challenge for some peers. There are things I don’t share, facets of my personal life that are just for me. But connecting with my readers is an important part of my job and one I really enjoy.
How do fans and their feedback (i.e., reviews) impact your writing process, whether directly or indirectly? Describe what it’s like having an ARC team, beta team, etc. and being able to receive trusted feedback from your readers, as well as influencers and fans who make content about your work.
It affects me so much I cannot look at reviews at all if I’m actively drafting. Even if I’m not actively drafting, any negative feedback (even on a 5 star review! ie: I loved this but this heroine got on my nerves…) will stay with me for days or weeks and alter my writing schedule. I have a group of trusted people who provide feedback as I’m writing, and I have a lovely editor whom I pay to make sure my work is the best it can be. I do not take feedback beyond that, though I am happy for readers to review my books in any manner they’d like on any platform they choose—as long as they don’t tag me if it’s negative. And, of course, I’m grateful for everyone on my content/ARC teams and those who read and review my books!
Tell me about what it’s like to be an independently published novelist as a whole. What obstacles have you encountered with this approach? What are some of the advantages you’ve been able to enjoy?
It’s a lot of work. I’m not a self-published author. I’m the head of a publishing empire, which feels weird to say, but it’s the truth. I am the boss and the employee, and that gets tricky to manage at times. But, having been on both sides of the traditional and self-publishing coin, this is where I’m most comfortable. I like being in charge of my schedule, the books I’m writing, my pricing, my covers, everything. It’s a lot of pressure and work, but it’s worth it.
How do you handle the “business” aspect of being not only the author, but the publisher and promoter of your stories? Is it a difficult balance to achieve? Have you developed a particular approach to self-publishing that works best for you? Do you work with a PR company, influencers, or any other collaborators in this process?
It’s incredibly difficult, but I try to delegate as much as possible. I work with PR (three different companies currently), I have an influencer/ARC team of my own, and I have an amazing assistant who’s more like a project manager and keeps this ship running while I’m in my drafting hole.
What has your experience been as an indie author encountering pirating and copyright issues with companies like Amazon or Apple Books? Has this struggle worsened or evolved in any specific ways over time? Feel free to share any specific anecdotes you might have regarding this topic.
Pirating has always and will always been an issue. But it’s something I don’t allow to take up space in my mind. Since moving into Kindle Unlimited, I’ve hired a service to send takedown notices (35,000 and counting) since Amazon has been known to remove KU books because of being posted on pirate sites, but otherwise, I don’t concern myself with it.
With the advent and rapid evolution of generative AI, particularly in creative fields like writing and visual art, have you seen this making an impact on the online book community at large, or your particular body of work and fanbase? Have you encountered any challenges in the face of AI? In other words, tell me about your AI-related experiences and your stance on it.
It’s definitely made an impact on the community. My books were used, along with every other author I know, to train AI systems without permission, so it’s affecting all of us whether we want it to or not. I don’t know what will happen with it in the future—I don’t think any of us do, and that can be a bit scary. But I do know that I will continue to be committed to hiring voice actors for my audiobooks and artists for my commissioned art work because having that human touch is important to me.
Are you publishing your books in audiobook form? If yes, what has this process been like and what is your approach to it? Have you seen this format becoming more popular over the years? Why do you think it’s a preference among some readers?
Yes, I publish my front list in audio. It’s been a new experience for me—I just started audio with my last series, Starlight Cove, and continued with my most recent series, The Steele Brothers of Starlight Cove. I’m an audiobook listener myself, so it’s important to me to offer these for my readers. That said, it’s incredibly expensive to produce. And, since I am a one-person publishing empire, that falls to me. I use A list narrators, a production company, and prefer duet narration, so all of those facets increase the cost. But it’s worth it, in my opinion.
As for the preference among readers, I assume they’re like me—they’re busy and they want to read, but they have a million other things to do, so this allows them to do both! I can read while I’m making dinner or running errands or grocery shopping. Plus, my spicy brain’s attention is no longer held by strictly eyeball reading.
To learn more, please visit Brighton’s website, brightonwalsh.com. Here, you’ll also be able to find her socials!