SEELIE KAY: Postcards from The Ledge: This week in The Loft: Author Maggie Blackbird!

Joining me today in The Loft is Canadian author Maggie Blackbird. Maggie writes contemporary and historical romance about Canada's Indigenous People. An Ojibway from Northwestern Ontario, Maggie resides in the country with her husband and their fur babies, two beautiful Alaskan Malamutes. When she’s not writing, she can be found pulling weeds in the flower beds, mowing the huge lawn, walking the Mals deep in the bush, teeing up a ball at the golf course, fishing in the boat for walleye, or sitting on the deck at her sister’s house, making more wonderful memories with the people she loves most.

The avatar for author Maggie Blackbird

S: Good morning, Maggie! It's always a pleasure to chat with you in The Loft.

What do people get wrong about publishing a book?

M: They think it’s easy. It isn’t. It’s a long process. Writing the manuscript is fast. But self-edits can take some time. Then it’s subbed to the publisher. Again, more edits and proofing. They also think it will automatically become a bestseller and they will get all kinds of money. That is also wrong. It’s hard work and tons of marketing. Like right now, I am working on marketing by answering these questions, instead of writing. That’s another thing they get wrong. They think you can sit and write all day. Wrong. Between writing-related work, marketing, promo, website updates, blah blah blah, it can become a job and a half. You really have to love what you’re doing.

S: You are certainly right about finding time to write. Sometimes, all of the other tasks related to publishing a book are overwhelming and writing is almost pushed aside.

What do people get wrong about writing romance?

M: They think it’s all about sex. No, it’s not. Not even close to that. It’s about building a story for readers that involves two characters overcoming external and internal conflicts that are keeping them apart. The characters are so much more than two people falling in love. They are battling their own problems, again, whether external or internal. Building strong character arcs is a must, along with believable conflict, and a compelling storyline.

S: I think writing romance has really evolved in recent years. There is a more dedicated focus on building relationships and that's a good thing.

Do you write in genres other than romance?

M: I’d love to try women’s fiction, or even contemporary fiction ala Jackie Collins with an Indigenous twist to it, but we’ll see. Right now, I've got too many irons in the fire to give those a second thought.

S: What inspired "His Proposition?"

M: People think writing category romance--a trope-driven novel with a somewhat flexible formula--is easy. It’s not. This novel was originally supposed to be category romance, but as I started writing, the characters changed their minds on me. To write a category romance, I used the billionaire and fish out of water tropes. But I decided to add my own signature twists to it. I must admit, I had a lot of fun writing this one.

S: Is there anything special you would like people to know about "His Proposition?"

M: Racism and how it impacts future generations is a big theme in this novel. I really enjoyed the Irish Canadian take on what they experienced in contrast to what Canada’s Indigenous People experienced. The two main protagonists have a lot more in common than they think, even though she comes from a First Nations community and he’s a trust-fund baby. So it became a bit too heavy for category romance.

Here's the blurb--

Her biggest dream’s offered on a platter, but the clincher is, she has to marry a perfect stranger.

When her employer offers the no-nonsense Shannon Nadjiwon the position of chauffeuring Séamus Daugherty, she jumps at the chance. To work for one of Toronto’s most powerful families means she can make her biggest dream of owning a fleet of limos come true, something her female relations tooling away at her Ojibway community want badly for her, and she won’t let them down.

His reckless need for speed cost Séamus Daugherty his license. If he doesn’t marry, as demanded by his overbearing father, he will lose not only his lucrative job with the family business—the only positive aspect in Séamus’ gilded cage life—but everything Daugherty.

The unpretentious and gorgeous Shannon will make the perfect bride, and Séamus is ready to strike a deal with her, one that will ensure he keeps everything he holds dear if she puts a wedding ring on her finger. However, they face three big obstacles: His family, her family, and a marriage neither truly wants, leaving both wondering if the sizzling sexual chemistry and cozy rapport they share is enough to create a happily ever after.