Emilie Richards - Writing Career

Writing Career

Richards began writing in 1983 after the birth of her fourth child. Her son would sit on her lap as she wrote, and Richards titled her first completed work, Brendan's Song, after him. The book was published in 1985 in the Silhouette Romance category line. She has subsequently written over 40 novels for Silhouette, including six, all set in Australia or New Zealand, written during a four-month sabbatical in Australia.

As a result of years working as a family counselor, her novels "feature complex characterizations and in-depth explorations of social issues." Richards won a Romance Writers of America RITA Award, the highest award given to romance authors, in 1994 for Dragonslayer. Richards has also been nominated three times for Romantic Times Reviewers' Choice Awards and is a recipient of their Career Achievement Award.

Despite the occasional use of overly cliched lines, Richards' writing "effortlessly flows from page to page." Her characters often sport unusual quirks, such as a penchant for strange sandwich ingredients, which gives the story an added charm.

In 2004, Richards began a new series of single-title novels centered around quilting. These novels were inspired by a volunteer stint with VISTA. While she was an undergraduate, Richards spent a summer living in the Arkansas Ozark Mountains, helping the residents and learning to quilt.

The following year, Richards began writing murder mysteries in addition to romance novels. The novels, in a series called Ministry is Murder, are based partially on her experience as a minister's wife and are written in first-person from the perspective of the heroine, minister's wife "Aggie" Wilcox. Characters in this series are "interesting well-developed," although suspense is "minimal."

Read more about this topic:  Emilie Richards

Famous quotes containing the words writing and/or career:

    To write weekly, to write daily, to write shortly, to write for busy people catching trains in the morning or for tired people coming home in the evening, is a heartbreaking task for men who know good writing from bad. They do it, but instinctively draw out of harm’s way anything precious that might be damaged by contact with the public, or anything sharp that might irritate its skin.
    Virginia Woolf (1882–1941)

    Work-family conflicts—the trade-offs of your money or your life, your job or your child—would not be forced upon women with such sanguine disregard if men experienced the same career stalls caused by the-buck-stops-here responsibility for children.
    Letty Cottin Pogrebin (20th century)