Harlequin trade publishing

Harlequin trade publishing DEFAULT

Harlequin Trade Publishing

We are a dynamic, diverse and growing group of trade imprints committed to publishing the best in commercial fiction and narrative nonfiction across a wide array of genres. Offering a broad and vibrant range of editorial, we are driven by a singular vision: to introduce readers to bold, imaginative stories that entertain, foster discussion, challenge preconceptions and stimulate new ways of perceiving the world.

Member Since 2017

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Sours: https://www.netgalley.com/catalog/publisher/82759

Harlequin Trade Publishing: Recent Successes

Harlequin has a suite of trade imprints—MIRA Books, HQN, Carina Press, Inkyard Press, Park Row Books, Graydon House and Hanover Square Press—alongside its ever-popular series romance lines. Here, we’ve highlighted some recent bestsellers from the Harlequin Trade Publishing program.

Reese Witherspoon’s June Book Club Pick

The Cactus by Sarah HaywoodReese Witherspoon chose The Cactus by Sarah Haywood for the Reese Witherspoon x Hello Sunshine Book Club—a first for the Harlequin Trade Publishing Program!

A New York Times bestseller

Recent New York Times Bestsellers

The Lost Girls of Paris by Pam Jenoff19 weeks on the New York Timesbestseller list (to June 16)
California Girls by Susan Mallery
A Soldier's Return by RaeAnne Thayne

110 fiction and nonfiction titles

placed on the New York Times, USA TODAY and
Publishers Weekly bestseller lists combined in 2018


Recent Canadian Bestsellers

The Globe and Mail

The Perfect Girlfriend by Karen Hamilton
The Lost Girls of Paris by Pam Jenoff
Her Secret Son by Hannah Mary McKinnon

     #1 bestseller                                             #1 bestseller


The Favorite Daughter by Kaira Rouda
The One by John Marrs
The Woman in the White Kimono by Ana Johns



Missing Daughter by Rick Mofina
The Things We Cannot Say by Kelly Rimmer
Dear Mother by Bunmi Laditan





One Summer in Paris by Sarah Morgan
The Cliff House by RaeAnne Thayne
The Woman in the Lake by Nicola Cornick


Don't You Cry by Mary Kubica










The Toronto Star

Humans: A Brief History of How We F*cked It All Up by Tom Phillips

MIRA Books turns 25!

Launched in 1994
Publishes 100 books annually

Harlequin Trade Publishing

7 imprints publishing fiction and nonfiction

330 books released in 2018

Want to learn more about Harlequin? Click here to visit our 70th anniversary page!

Sours: https://blog.harlequin.com/2019/06/harlequin-trade-publishing-recent-successes/
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Company Information

Harlequin was founded in 1949 and has experienced more than 70 years of success as a leading publisher of books for women.

  • As a division of HarperCollins, Harlequin publishes more than 100 titles a month, in both print and digital formats, in 17 countries and 16 languages
  • 95% of our books are sold outside Canada
  • Harlequin titles regularly hit the New York Times, USA TODAY, Publishers Weekly and Bookscan bestseller lists, including appearances at the coveted #1 position
  • We offer readers a broad range of reading in many genres, from general and women’s fiction to young adult and narrative nonfiction, and more
  • To date we have sold over 6.8 billion books

Leadership Team

Craig Swinwood

CEO Harlequin and HarperCollins Canada

Craig Swinwood was appointed Publisher and CEO of Harlequin in January 2014, and is responsible for Harlequin's north American Publishing and Operations. In 2017, leadership of HarperCollins Canada was added to his responsibilities. Prior to this, Craig served as the Chief Operating Officer for Harlequin. Craig joined Harlequin in 1987 as a Sales Representative and, subsequently, held progressively more senior roles in Sales and Marketing. Born and raised in Montreal, Craig is a graduate of the University of Western Ontario, where he completed his Executive MBA at the Ivey business school in 2011.

Christine Greco

Vice-President Human Resources

Shari Hosaki

Vice-President General Counsel & Secretary

Brent Lewis

Executive Vice-President & Publisher, Harlequin Brand Group

Leo MacDonald

Senior Vice-President Sales & Marketing HarperCollins Canada

Kirk Marshall

Chief Financial Officer HarperCollins Canada & Harlequin

Margaret Morrison

Vice-President & Chief Information Officer

John Reindl

Vice-President Operations

Loriana Sacilotto

Executive Vice-President & Publisher, Harlequin Trade Publishing

Iris Tupholme

Senior Vice-President / Executive Publisher HarperCollins Canada

Our History


When Richard H. G. Bonnycastle, a former Arctic explorer with the Hudson Bay Company, launched Harlequin Books in Winnipeg in 1948, he had little interest in building a publishing empire around romance novels. Early in its history, Harlequin published inexpensive reprints of detective stories, cookbooks, westerns, and a smattering of tragic love stories.

When Bonnycastle’s wife, Mary, took on editorial duties in the 1950s, she focused on the vast untapped market of female readers in Canada who loved reading British romance novels. She discovered that her favorite novels were published by a British firm called Mills & Boon, which had been publishing romances since 1908. She contacted the firm and asked to acquire paperback rights to some of its romances.

Under Mary Bonnycastle’s guidance, Harlequin purged any potentially racy content from the Mills & Boon books and established a template for its own editions. The plot often involved a chance meeting in an interesting setting, a courtship that allowed both parties to overcome personal obstacles, and a happy denouement, almost inevitably involving marriage.

The formula worked. From Harlequin’s first reprint of a Mills & Boon romance, Anne Vinton’s The Hospital in Buwambo, there was a ready audience for chaste love stories that took place in exotic or historical settings.


Lawrence Heisey, a former soap salesman who had been appointed president of Harlequin in 1971, revolutionized romance publishing by distributing Harlequin romances to supermarkets and department stores, where they would be right at the fingertips of Canadian and American homemakers. The company often gave away one book as a free gift with the purchase of household items such as kitchen cleaners or napkins, hoping that shoppers would become hooked and buy the rest of the series.

By 1975, Harlequin had purchased British romance publisher Mills & Boon, and seventy percent of its sales came from outside of Canada.

Despite an early resistance to explicit sex scenes, Harlequin’s winning plot formula and marketing strategies fostered the company’s spread across the globe. After the fall of the Berlin Wall in 1989, Harlequin employees gave away more than 720,000 books at border checkpoints across the Eastern Bloc. Just two years later, Harlequin had sold seven million romance novels in Hungary alone and reached $10 million in sales in the Czech Republic in 1992. By 1995, it had released 550,000 copies of its titles in Mandarin Chinese, paving the way for the opening of offices across the world, from Tokyo to Mumbai.


By the 1990s, Harlequin had become synonymous with romance novels, grown the category into a score of successful subgenre lines—from the historical to the contemporary and the sweetly romantic to the sensually passionate—opened offices around the world and seen its books made available in more than 100 countries and over 30 languages. Now the publisher looked to move beyond romance novels and expand the breadth of its editorial into all genres of fiction for women.

In 1994 Harlequin launched MIRA Books, its first mainstream commercial fiction imprint. MIRA offered readers thrillers, suspense novels, small town dramas, macabre paranormals and more complex, involved romances. In addition to acquiring existing authors from other publishing houses, MIRA allowed the publisher the opportunity to lift authors who had honed their craft and build sizeable followings in Harlequin’s category romance lines and give them the canvas to expand their vision and stretch their wings in a trade program. MIRA’s ability to create bestselling novels and franchises also made the imprint very attractive to debut authors.

Four years later, MIRA Books was joined by Love Inspired, an inspirational fiction imprint, as Harlequin moved beyond the mainstream and into niche markets. In 2004 Harlequin launched HQN Books, its bestseller romance trade program, allowing the publisher to introduce its top romance authors to mainstream audiences. In 2009, two more imprints were established—Harlequin TEEN, capturing the imagination of young adult readers and Carina Press, a digital-first adult fiction imprint that allowed the publisher to explore subgenres of traditional genres and push beyond conventional boundaries.

In 2016, Harlequin continued its expansion of trade publishing by launching two new imprints—Park Row Books, which is dedicated to publishing voice-driven and thought-provoking books across a variety of genres, from mainstream literary fiction and book club fiction to literary suspense and narrative nonfiction, and Graydon House Books, a select hardcover and trade paperback imprint showcasing commercial women's fiction with a relationship element woven through. In 2017 Hanover Square Press was launched to publish compelling, original fiction and narrative nonfiction, including crime, thrillers, high-concept fiction, history, journalism and memoir.

Harlequin has scaled fresh heights with its new imprints. Multiple #1 New York Times and USA TODAY bestseller placements, overseas triumphs, films and television shows adapted from its novels have all served to help transform the company from the dominant romance publisher into a leading publisher of books for a wide range of readers and tastes.

Our Commitment to Diversity, Equity & Inclusion

We work to cultivate an environment of respect, support and belonging for our employees, authors and publishing partners, and we’re committed to publishing diverse and inclusive voices so that readers see themselves reflected in the books we publish.

As a publisher and as an employer, we embrace a broad definition of diversity and we aim to include people of all ethnicities, races, genders and gender identities, sexual orientations, ages, classes, religions, national origins and disabilities. As an employer partner of the Canadian Centre for Diversity and Inclusion and Pride at Work Canada, Harlequin employees have access to resources and training to further support being an open, accepting and welcoming place to work and to publish.

We are proud to publish talented and bestselling authors representing many backgrounds, communities and cultures. Harlequin offers a broad range of content–including romance fiction across subgenres, psychological thrillers, crime novels and speculative fiction, young adult novels, commercial literary fiction and narrative nonfiction – enabling authors with diverse experiences and perspectives to share their stories. Carina Press, our digital-first fiction imprint, publishes a variety of inclusive romance and added Carina Adores, a trope-driven contemporary romance line featuring LGBTQ+ protagonists, in 2020.

We welcome all authors to the Harlequin community. We are actively working to further broaden representation in our publishing programs through ongoing outreach and initiatives. Harlequin’s Romance Includes You Mentorship aims to bring more diverse stories and characters to romance readers. We reach out through Harlequin’s #RomanceIncludesYou pitch events and participate in #DVpit and other pitch events that connect editors with writers in marginalized communities. We accept unagented romance story submissions and encourage underrepresented voices to include #RomanceIncludesYou with their story submission to quickly bring these submissions to editors’ attention. We established a scholarship program to foster diverse voices and have scholarships in place at Humber School for Writers in Toronto and Seton Hill University’s Writing Popular Fiction MFA program.

We further extend our outreach to diverse authors and readers through involvement with writer’s conferences and festivals that promote diversity in publishing, including:

  • The Festival of Literary Diversity
  • Romance Slam Jam
  • Cre8tiveCon and Black Writers Weekend hosted by African-Americans On The Move Book Club
  • National Black Writers Conference
  • One Love Reader and Author Reunion
  • Building Relationships Around Books
  • Christian Book Lovers Retreat
  • Toronto Romance Writers
  • Toronto International Festival of Authors

As we work to publish more stories by all diverse voices, we recognize the importance of the Black Lives Matter movement and the need for greater representation in publishing by Black authors. We are working to acquire and further promote stories by Black authors in several ways:

  • We welcomed proposals directly from unagented Black authors in 2020 for certain Harlequin fiction and YA imprints. We requested more than 50 manuscripts for consideration and have already made several acquisitions. (Normally our fiction imprints accept agented submissions only.)
  • We have reached out to Black romance writers with a welcome and open-ended invitation for more story submissions. Authors can submit unagented manuscripts for Harlequin’s romance lines through Harlequin.Submittable.com anytime.
  • We earmarked a marketing and promotional fund and have used it to further amplify promotion for selected books by Black authors.
  • We showcase romance stories by Black authors on Harlequin.com, creating another way for readers to discover great romance stories and authors.

With input from employees, initiatives have been developed to remove barriers and better attract and retain a diverse workforce, including offering paid internship positions for new graduates interested in working in publishing. Anti-racism training and education is provided to employees to raise awareness and further build an open and inclusive culture for our staff, authors and partners.

CCDI Employer Partner
Pride at Work Canada

Our Offices

Harlequin Toronto Office

Toronto Office
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Toronto, ON M5H 4E3
Tel: 1-888-432-4879
[email protected]

Harlequin New York Office

New York Office
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New York, NY 10007
United States
Tel: (212) 207-7000

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New York office
Phone: (212) 207-7978
Email: [email protected]


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Sours: https://corporate.harlequin.com/
Publisher Preview: Harlequin at Speed Dating Spring 2021

Harlequin Enterprises

Canadian book publisher of series romance and women's fiction

Harlequin Enterprises logo.png
Parent companyHarperCollins
Founded1949; 72 years ago (1949) in Winnipeg, Manitoba
FounderJack Palmer and Doug Weld
Country of originCanada
Headquarters locationToronto, Ontario
Publication typesBooks
Fiction genresRomance, action
ImprintsCarina, Harlequin Teen, HQN, Kimani, Love Inspired, Mira, Hanover Square, Park Row, Graydon House, Gold Eagle (until 2014)
Revenue$585 million[1]
Official websitewww.harlequin.com

Harlequin Enterprises Limited (known simply as Harlequin) is a romance and women's fiction publisher founded in Winnipeg in 1949. Now[when?] based in Toronto, Harlequin was owned by the Torstar Corporation, the largest newspaper publisher in Canada, from 1981 to 2014. It was then purchased by News Corp[2][3] and is now a division of HarperCollins.[4]

Early years[edit]

In May 1949, Harlequin was founded in Winnipeg, Manitoba, Canada as a paperback reprinting company.[5] The business was a partnership between Advocate Printers and Doug Weld of Bryant Press, Richard Bonnycastle, plus Jack Palmer, head of the Canadian distributor of the Saturday Evening Post and the Ladies' Home Journal. Palmer oversaw marketing for the new company and Richard Bonnycastle took charge of the production.[6]

The company's first product was Nancy Bruff's novel The Manatee. For its first few years, the company published a wide range of books, all offered for sale for 25 cents. Among the novels they reprinted were works by James Hadley Chase, Agatha Christie, Sir Arthur Conan Doyle, and Somerset Maugham. Their biggest success was Jean Plaidy's Beyond the Blue Mountain (1951). Of the 30,000 copies sold, only 48 were returned.[7] Although the new company had strong sales, profit margins were limited, and the operation struggled to stay solvent.[citation needed]

Following the death of Jack Palmer in the mid-1950s, Richard Bonnycastle acquired his 25% interest in Harlequin. Still struggling to survive, soon Doug Weld departed and Richard Bonnycastle, now in full control, transferred Weld's shares to key staff member, Ruth Palmour.[citation needed]

In 1953, Harlequin began to publish medical romances. When the company's chief editor died the following year, Bonnycastle's wife, Mary, took over his duties.[8] Mary Bonnycastle enjoyed reading the romances of British publisher Mills & Boon, and, at her urging, in 1957 Harlequin acquired the North American distribution rights to the category romance novels which had been published by Mills & Boon in the Commonwealth of Nations.[9] The first Mills & Boon novel to be reprinted by Harlequin was Anne Vinton's The Hospital in Buwambo (Mills & Boon No 407).[10]

Mills & Boon partnership[edit]

The contract with Mills & Boon was based solely on a handshake, given each year when Bonnycastle visited London. He would lunch at the Ritz Hotel with Alan Boon, the son of a Mills & Boon founder, and the two would informally agree to extend their business agreement for an additional year.[11]

Mary Bonnycastle and her daughter Judy Burgess exercised editorial control over which Mills & Boon novels were reprinted by Harlequin. They had a "decency code" and rejected more sexually explicit material that Mills & Boon submitted for reprinting. Upon realizing the genre was popular, Richard Bonnycastle finally decided to read a romance novel. He chose one of the more explicit novels and enjoyed it. On his orders, the company conducted a market test with the novel he had read and discovered that it outsold a similar, tamer novel.[12] Overall, intimacy in the novels never extended beyond a chaste kiss between the protagonists.[9]

The romances proved to be hugely popular, and by 1964 the company was exclusively publishing Mills & Boon novels. Although Harlequin had the rights to distribute the Mills & Boon books throughout North America, in 1967 over 78% of their sales took place in Canada, where the sell-through rate was approximately 85%. Richard Bonnycastle died in 1968 and his son, Richard Bonnycastle, Jr., took over the company. He immediately organized the 1969 relocation of operations to Toronto, Ontario where he built the company into a major force in the publishing industry.[10] In 1970, Bonnycastle, Jr. contracted with Pocket Books and Simon & Schuster to distribute the Mills & Boon novels in the United States.[10]

On October 1, 1971, Harlequin purchased Mills & Boon.[13] John Boon, another founder's son, remained with the company, overseeing British operations.[11] North American booksellers were reluctant to stock mass market paperbacks, and Harlequin chose to sell their books "where the women are",[14] distributing them in supermarkets and other retail stores.[11] The company focuses on selling the line of books, rather than individual titles. Rather than traditional advertising, the company focused on giveaways. A sampling of books within a line would be given away, sometimes in conjunction with other products, in the hopes that readers would continue to buy books within that line.[11] Harlequin then began a reader service, selling directly to readers who agreed to purchase a certain number of books each month.[14]

At the time that Harlequin purchased Mills & Boon, the company published only one line of category romances. Six novels were released each month in this line, known as Harlequin Romance. At John Boon's urging, in 1973 Harlequin introduced a second line, Harlequin Presents. Designed partially to highlight three popular and prolific authors, Anne Hampson, Anne Mather, and Violet Winspear, these novels were slightly more sensual than their Harlequin Romance counterparts. Although Mary Bonnycastle disapproved of the more sensual nature of these novels, they had sold well in Great Britain, and the company chose to distribute them in North America as well. Within two years the Harlequin Presents novels were outselling Harlequin Romance.[11]

In late 1975, Toronto Star Ltd. acquired a 52.5% interest in Harlequin and in 1981 acquired the balance of the shares.[15]

Romance wars[edit]

By 1975, 70% of Harlequin's sales came from the United States.[10] Despite this fact, the company contracted with only British writers. Harlequin contracted with its first American author in late 1975, when they purchased a novel by Janet Dailey.[16][17] Dailey's novels provided the romance genre's "first look at heroines, heroes and courtships that take place in America, with American sensibilities, assumptions, history, and most of all, settings."[18] Harlequin was unsure how the market would react to this new type of romance, and was unwilling to fully embrace it. In the late 1970s, a Harlequin editor rejected a manuscript by Nora Roberts, who has since become the top-selling romance author, because "they already had their American writer."[19]

Harlequin terminated its distribution contract with Simon & Schuster and Pocket Books in 1976. This left Simon & Schuster with a large sales force and no product.[11] To fill this gap, and to take advantage of the untapped talent of the American writers Harlequin had rejected, Simon & Schuster formed Silhouette Books in 1980.[20] Silhouette published several lines of category romance, and encouraged their writers to experiment within the genre, creating new kinds of heroes and heroines and addressing contemporary social issues.[21]

Realizing their mistake, Harlequin launched their own line of America-focused romances in 1980. The Harlequin Superromance line was the first of its lines to originate in North America instead of in Britain. The novels were similar to the Harlequin Presents books, but were longer and featured American settings and American characters.[22]

Harlequin had also failed to adapt quickly to the signs that readers appreciated novels with more explicit sex scenes, and in 1980, several publishers entered the category romance market to fill that gap. That year, Dell launched Candlelight Ecstasy, the first line to waive the requirement that heroines be virginal. By the end of 1983, sales for the Candlelight Ecstasy line totaled $30 million. Silhouette also launched similar lines, Desire and Special Edition, each of which had a 90–100% sellout rate each month.[23] The sudden increase in category romance lines meant an equally sudden increase in demand for writers of the new style of romance novel. By 1984, the market was saturated with category lines and readers had begun to complain of redundancy in plots.[24] The following year, the "dampening effect of the high level of redundancy associated with series romances was evident in the decreased number of titles being read per month."[25] Harlequin's return rate, which had been less than 25% in 1978, when it was the primary provider of category romance, swelled to 60%.[26]

In 1984, Harlequin purchased Silhouette from Simon & Schuster.[27] Despite the acquisition, Silhouette continued to retain editorial control and to publish various lines under their own imprint.[13] Eight years later, Harlequin attempted to purchase Zebra, but the deal did not go through. Despite the loss of Zebra, Harlequin maintained an 85% share of the North American category romance market in 1992.[28]

International expansion[edit]

Torstar Corporation, which owns Canada's largest daily newspaper, the Toronto Star, purchased Harlequin in 1981[29] and began actively expanding into other markets. Although the authors of Harlequin novels universally share English as a first language, each Harlequin office functions independently in deciding which books to publish, edit, translate, and print, "to ensure maximum adaptability to the particulars of their respective markets."[30]

Harlequin began expanding into other parts of Europe in 1974???, when it entered into a distribution agreement with Cora Verlag, a division of German publisher Axel Springer AG. The companies signed a two-year agreement to release two Mills & Boon novels each month in magazine format. The books sold well, and when the agreement came up for renewal Harlequin instead purchased a 50% interest in Cora Verlag. The new joint venture format allowed Harlequin to receive more of the profits, and allowed them to gain continued distribution in Austria, Switzerland, and West Germany. As of 1998, Germany represented 40% of Harlequin's total European business.[31]

During this same period, Harlequin opened an office in the Netherlands. Although this office lost money in its first year, by its third year in business it had accumulated a profit. In 1979, the company expanded in Scandinavia with an office in Stockholm.[31] Expansion was rapid in both Finland and Norway. Within two years of its opening, Harlequin held 24% of the market for mass-market books in Sweden.[32] Scandinavia offered unique problems however, as booksellers refused to sell the category romances, complaining that the books' short life span (one month) created too much work for too little compensation. Booksellers and distributors also worried that the uniformity of the Harlequin book covers made advertising too difficult. Instead, Harlequin novels in Scandinavia are classified as magazines and sold in supermarkets, at newsstands, or through subscription. Harlequin has retained their North American style direct marketing. The direct marketing message is very similar in Scandinavia to that of North America, but the target audience differs a bit.[33]

The fall of the Berlin Wall, in 1989, gave Harlequin an opportunity to extend into previously closed markets. Cora Verlag distributed over 720,000 romance novels at border checkpoints to introduce East Germans to the company's books.[34] The same year, Harlequin's German joint venture began distributing books in Hungary. Within two years, the company was selling 7 million romances in that country, and by the third year, Harlequin sold 11 million books in Hungary, a nation which at the time contained only 5.5 million women. At the same time, Harlequin's wholly owned subsidiary in Poland was able to order initial print runs of 174,000 copies of each title, and the Czech Republic was purchasing over $10 million each year of Harlequin novels.[35] In 1992, Harlequin had its best year (as of 1998), selling over 205 million novels in 24 languages on 6 continents. The company released a total of 800 new titles in English, with 6,600 foreign editions.[36]

Harlequin moved into the Chinese market in January 1995. In China, the company produced books in both Mandarin and English. Twenty titles were offered each year in Mandarin, with 550,000 copies offered of each. An additional ten titles were offered in English, with print runs of 200,000 copies each.[35]

In total,[when?] Harlequin has offices in Amsterdam, Athens, Budapest, Granges-Pacot, Hamburg, London, Madrid, Milan, New York, Paris, Stockholm, Sydney, Tokyo, and Warsaw, as well as licensing agreements in nine other countries.[citation needed]

International editions[edit]

Harlequin's success in overseas markets results from its "emphasis on locality and language, independence and autonomy".[37] The editors in Harlequin's branch offices have a great deal of control over which Harlequin novels will be published in their market. An editor generally chooses a book after either reading it personally, receiving a favorable review of the book from someone else, or reading a tip sheet about the novel.[38] The editors accept a novel for one of four reasons:[39]

  • Anticipated high sales
  • Perceived quality
  • A setting or topic that fits into a monthly theme
  • Direct orders from the Harlequin head office

The novels published overseas are not necessarily contemporaries of those sold in North America or Europe. International editors are allowed to choose from Harlequin's backlist, and books published in a particular country may have been published in North America six or seven years previously.[40] As the novels are translated into the country's native tongue, the names of the hero or heroine may be changed and the title might not be translated literally. Furthermore, each novel is usually shortened by 10-15% from its original English version. This is usually accomplished by removing references to American pop culture, removing puns that do not translate well, and tightening the descriptive passages.[41]

Additional imprints[edit]


In the early 1990s, many of Harlequin's authors began leaving the company to write single-title romances for other publishers. To retain their top talent, in October 1994 Harlequin launched the MIRA imprint to publish single-title romances. Most of their early novels were written by well-known Harlequin authors, including Heather Graham Pozzessere, whose novel Slow Burn (2001)[42] launched the imprint.[43] For its first few years, MIRA produced four novels each month. Of these, one would be an original novel, while the other three were repackaged backlist by other Harlequin authors.[44]

Harlequin has expanded its range of books, offering everything from romance novels under its various Harlequin and Silhouette imprints; thrillers and commercial literary fiction under the MIRA imprint; erotic fiction under the Spice imprint; Bridget Jones-style "chick lit" under its Red Dress Ink imprint; fantasy books under the LUNA imprint; inspirational fiction published under the Steeple Hill and Steeple Hill Café imprints; African-American romance under its Kimani Press imprints; male action-adventure books under Gold Eagle imprint; and single-title romances under the HQN imprint.[citation needed]

Harlequin Horizons/DellArte Press[edit]

In 2009, Harlequin Enterprises announced the creation of a vanity press imprint, Harlequin Horizons.[45][46] The Mystery Writers of America, Romance Writers of America, and Science Fiction Writers of America denounced the move and revoked the eligibility of Harlequin's other imprints for their associations' conferences and awards.[45][47] Following the backlash, the imprint changed its name to DellArte Press.[48]


In 2002, Harlequin published 1,113 romance novels, more than half of all romances released in North America. The next most prolific publisher was Kensington Books, which released only 219 romance titles.[1] In 2006, Harlequin published books in 26 languages in 109 international markets. They sold a total of 131 million books, similar to the company's sales in 2005.[49]

The company is considered one of the most profitable in publishing. Over $585 million worth of books sold in 2003, for gross profits of $124 million and a profit margin of 21%. Its large profit margin can be tied in part to the amount of advance that its authors receive. These advances are often smaller than the industry average and can total to only a few thousand dollars for a series romance.[1] Despite its profitability, and a 37.2% pay hike for Harlequin President and CEO, Donna Hayes in 2011,[50] the firm's royalty program for authors is controversial. In 2011, the Romance Writers Association sent a letter to all members to "exercise due diligence in reviewing contracts" with Harlequin because "several members of RWA have expressed concern regarding" Harlequin's digital royalty rate changes and non-compete clauses.[51] This is not the first time Harlequin had been called out by the Romance Writers Association regarding Harlequin's treatment of their authors. In 2009, Harlequin was called out by the Mystery Writer's Association, Romance Writers of America, and Science Fiction Writers Association for schemes of making their authors pay for publishing.[52] In 2012, Harlequin faced a class action lawsuit from authors alleging the publisher had fraudulently licensed e-book publishing rights at low rates to one of its subsidiaries in order to pay royalties only on the licensing fees instead of on the full sales receipts; the publisher responded that its authors "have been recompensed fairly and properly".[53]

Class action lawsuit[edit]

In 2012 a class action lawsuit was filed against Harlequin Enterprises, Ltd. The lawsuit alleges that Harlequin deprives plaintiffs and the other authors in the class, of e-book royalties due them under publishing agreements entered into between 1990 and 2004.

Harlequin category romance imprints[edit]

Harlequin Nocturne series
  • Harlequin American Romance
  • Harlequin Bestselling Author Collection
  • Harlequin Blaze – erotica
  • Harlequin Desire – rich and successful protagonists
  • Harlequin Historicals – historical romance
  • Harlequin Intrigue – romantic suspense
  • Harlequin Medical Romance
  • Harlequin Nocturne – paranormal romance
  • Harlequin Presents – "alpha males, decadent glamour and jet-set lifestyles"
  • Harlequin Presents Extra – with additional erotica
  • Harlequin Romantic Suspense – also romantic suspense
  • Harlequin Showcase – novel series
  • Harlequin Special Edition – "features relatable characters"
  • Harlequin Superromance – "a strong emotional punch and a guaranteed happily ever after"

Love Inspired imprints[edit]

  • Love Inspired
  • Love Inspired Classics
  • Love Inspired Historical
  • Love Inspired Suspense

Kimani Press[edit]

  • Kimani Press Arabesque
  • Kimani Press Kimani Romance
  • Kimani Press Special Releases
  • Kimani Press TRU


  • Carina Press
  • Gold Eagle
  • Inkyard Press (formerly Harlequin TEEN)
  • Harlequin NASCAR
  • Harlequin Nonfiction
  • HQN Books
  • LUNA Books
  • MIRA Books
  • Worldwide Library
  • Gold Eagle (until 2014)

Harlequin More Than Words[edit]

Harlequin Enterprises operates Harlequin More Than Words, a community investment program to reward women's work in communities across North America. The company solicits nominations of women who are making notable contributions to their communities. Five women are chosen as Harlequin More Than Words award recipients each year, and a donation of $50,000 is divided equally among their charitable causes. A collection of romance-fiction short stories inspired by their lives is then written by five of Harlequin's leading authors. Authors contributing to the More Than Words anthology include Diana Palmer, Debbie Macomber, Susan Wiggs, and Linda Lael Miller. The first anthology was published in 2004, with a new volume published annually. Proceeds from the sale of the book are reinvested in the Harlequin More Than Words program.

See also[edit]


  1. ^ abcWyatt, Edward (August 17, 2004), "'Sorry, Harlequin,' She Sighed Tenderly, 'I'm Reading Something Else'", The New York Times, archived from the original on 2014-05-03, retrieved 2007-08-27
  2. ^Greenfield, Jeremy (2 May 2014). "Three Reasons News Corp Bought Harlequin, World's Biggest Romance Book Publisher". Forbes.
  3. ^"Torstar Corporation Completes Sale of Harlequin Enterprises Limited". Archived from the original on 2014-08-08. Retrieved 2014-08-03.
  4. ^Greenfield, Jeremy Greenfield (May 2, 2014). "News Corp Acquires Harlequin, Adds to HarperCollins Portfolio". Digital Book World.
  5. ^Faircloth, Kelly (March 19, 2015). "How Harlequin Became the Most Famous Name in Romance". Pictorial. Jezebel.com. Retrieved March 29, 2015.
  6. ^"Harlequin Enterprises Limited Company History". Funding Universe.
  7. ^Hemmungs Wirten (1998), p. 63.
  8. ^"ENTERPRISE: What Women Want, Or Kitsch Rewarded". 5 November 1973 – via content.time.com.
  9. ^ abThurston (1987), p. 42.
  10. ^ abcdHemmungs Wirten (1998), p. 64.
  11. ^ abcdefHemmungs Wirten (1998), p. 66.
  12. ^Regis (2003), p. 185
  13. ^ abRegis (2003), p. 156.
  14. ^ abThurston, pp. 46-47.
  15. ^"History of Harlequin Enterprises Limited – FundingUniverse". www.fundinguniverse.com.
  16. ^Thurston (1987), pp. 46-47.
  17. ^Regis (2003), pp. 155-156
  18. ^Regis (2003), p. 159.
  19. ^Regis (2003), pp. 158, 183, 184.
  20. ^Regis (2003), pp. 156, 159.
  21. ^Regis (2003), p. 184
  22. ^Hemmungs Wirten (1998), p. 67.
  23. ^Barrett, Mary Ellin (January 9, 1983), "Pure as the Driven Slush"(PDF), Family Weekly, retrieved 2007-05-24
  24. ^Thurston, p. 188.
  25. ^Thurston, p. 128.
  26. ^Thurston, p. 190.
  27. ^Korda, Michael (1999). Another Life: A Memoir of Other People. New York: Random House. ISBN .
  28. ^Hemmungs Wirten (1998), pp. 67–68.
  29. ^Hemmungs Wirten (1998), p. 69.
  30. ^Hemmungs Wirten (1998), pp. 21-22.
  31. ^ abHemmungs Wirten (1998), p. 101.
  32. ^Hemmungs Wirten (1998), p. 102.
  33. ^Hemmungs Wirten (1998), p. 103.
  34. ^Hemmungs Wirten (1998), p. 19.
  35. ^ abHemmungs Wirten (1998), p. 68.
  36. ^Hemmungs Wirten (1998), p. 20.
  37. ^Hemmungs Wirten (1998), p. 184.
  38. ^Hemmungs Wirten (1998), p. 112.
  39. ^Hemmungs Wirten (1998), p. 115.
  40. ^Hemmungs Wirten (1998), p. 121.
  41. ^Hemmungs Wirten (1998), pp. 130, 133.
  42. ^Pozzessere, Heather Graham (2001). Slow Burn. MIRA Books. ISBN .
  43. ^"Review: Slow Burn". Publishers Weekly. Retrieved May 2, 2014.
  44. ^Hemmungs Wirten (1998), p. 84.
  45. ^ abLopresti, Rob (2009-12-02). "Helplessly Hoping". Self-publishing, Vanity Presses. University of Washington, Bellingham: Criminal Brief.
  46. ^Strauss, Victoria (2009-11-18). "Harlequin Horizons: Another Major Publisher Adds A Self-Publishing Division". Publishing Pitfalls. Writer Beware.
  47. ^Andriani, Lynn (20 November 2009), "RWA, MWA and SFWA Angered by Harlequin's New Self-Publishing Imprint", Publisher's Weekly, retrieved 2015-06-24
  48. ^Andriani, Lynn (7 December 2009), "Mystery Writers Boots Harlequin from Approved Publishers List", Publisher's Weekly, archived from the original on 2009-12-12, retrieved 2009-12-11
  49. ^"Torstar Corporation Announces Fourth Quarter and 2006 Full Year Results" (Press release). Torstar Corporation. February 28, 2007. Archived from the original on 2007-03-03. Retrieved 2007-08-27.
  50. ^"The Top Pay Grade". Archived from the original on 2012-10-08.
  51. ^"Attorney to Harlequin: What Have You Been Smoking?". The Passive Voice. 2011-07-14. Retrieved 2012-07-19.
  52. ^"RWA, MWA and SFWA Angered by Harlequin's New Self-Publishing Imprint". Publishersweekly.com. Retrieved 2012-07-19.
  53. ^Woods, Stuart (July 19, 2012), "Harlequin faces lawsuit for unpaid digital royalties", Quill & Quire, archived from the original on 2012-08-22.


  • Hemmungs Wirten, Eva (1998). "Global Infatuation: Explorations in Transnational Publishing and Texts. The Case of Harlequin Enterprises and Sweden"(PDF). Section for Sociology of Literature at the Department of Literature, Number 38. Uppsala University. Retrieved 2015-03-25.
  • Regis, Pamela (2003), A Natural History of the Romance Novel, Philadelphia, Pennsylvania: University of Pennsylvania Press, ISBN 
  • Thurston, Carol (1987), The Romance Revolution, Urbana and Chicago: University of Illinois Press, ISBN 

External links[edit]

Sours: https://en.wikipedia.org/wiki/Harlequin_Enterprises

Publishing harlequin trade

HarperCollins to Buy Houghton Mifflin’s Trade Publishing Unit

The $349 million deal will help the publisher expand its back catalog at a moment of growing consolidation in the book business.

HarperCollins, one of the five largest publishing companies in the United States, said on Monday that it had agreed to buy Houghton Mifflin Harcourt Books and Media, the trade publishing division of Houghton Mifflin Harcourt, for $349 million.

The acquisition will help HarperCollins expand its catalog of backlist titles at a moment of growing consolidation in the book business. Houghton Mifflin publishes perennial sellers by well-known authors such as J.R.R. Tolkien, George Orwell, Robert Penn Warren, Philip Roth and Lois Lowry, as well as children’s classics and best-selling cookbooks and lifestyle guides.

News of the sale was reported earlier by The Wall Street Journal.

By acquiring Houghton Mifflin, HarperCollins, which is owned by Rupert Murdoch’s News Corp, will be better able to compete as publishing has come to be dominated by the biggest players.

The book business has been transformed by consolidation in the past decade, with the merger of Penguin and Random House in 2013, News Corp’s purchase of the romance publisher Harlequin, and Hachette Book Group’s acquisition of Perseus Books. Last fall, ViacomCBS agreed to sell Simon & Schuster to Penguin Random House for more than $2 billion, in a deal that has drawn scrutiny from antitrust regulators and has raised concerns among booksellers, authors and agents.

Several industry groups, including the American Booksellers Association and the Authors Guild, have said the Simon & Schuster deal could destabilize the industry and leave authors with fewer opportunities. Critics of the deal have also noted that consolidation often leads to more consolidation, as smaller companies try to bulk up to compete.

Some analysts have warned that within a decade or so, the industry may be left with only two big publishing companies — Penguin Random House and HarperCollins, which is the second-largest trade publisher.

“Increasingly, the two of them are going to be competing for all the big books, because they’re going to be the only ones who can afford to,” said Mike Shatzkin, the founder and chief executive of Idea Logical, a publishing consultancy. The remaining publishers, he added, “are going to find it harder and harder to keep acquiring the kind of high-profile new titles that make a big publisher a big publisher.”

The sale of Houghton Mifflin will further transform the publishing landscape when the industry has been severely affected by the pandemic. Publishers have seen a huge shift to online retail, with e-commerce giants like Amazon and big-box stores like Target and Walmart gaining an even greater share of book sales, while many independent bookstores have struggled. At the same time, as more people have turned to books for entertainment during lockdown, publishers benefited from a surge in sales. Revenues in 2020 climbed to $8.6 billion, an increase of nearly 10 percent, according to the Association of American Publishers, which tracks revenue from about 1,360 publishers.

By acquiring a midsize trade publisher, HarperCollins, a global publisher that has more than 120 imprints and publishes 10,000 new books a year, will gain an even larger backlist. HarperCollins will also take over Houghton Mifflin’s warehouse facility in Indiana, giving it a bigger distribution footprint.

“Global demand for books — print and digital — has never been higher than it is now,” Brian Murray, the president and chief executive of HarperCollins Publishers, said in a statement. “We expect faster growth of the combined companies at a time of rapid growth in book consumption.”

Educational publishers haven’t fared as well, as the closing of schools across the United States cut off a critical revenue stream. Revenue for educational publishers fell 10.9 percent in 2020, the Association of American Publishers found.

Houghton Mifflin, the largest learning technology company in the kindergarten-through-12th-grade market, saw its sales fall last year because of a steep drop in its education division, though sales in its consumer publishing business were strong.

“Last year, and still to this day, the pandemic has really disrupted K-12 education,” Houghton Mifflin’s president and chief executive, Jack Lynch, said in an interview. “It was a forcing mechanism for the rapid adoption of technology.”

The company put its trade publishing division up for sale last fall, as it aims to focus on its core business of educational publishing and technology, and to pay down its debt. The deal is expected to close in the second quarter of 2021.

Erik Gordon, a professor at the University of Michigan Ross School of Business, said the deal could potentially strengthen both companies. By selling its trade publishers, Houghton Mifflin can strengthen its position in education, while HarperCollins will gain some 7,000 titles, including Tolkien’s “The Lord of the Rings” trilogy, which Amazon is adapting as a TV series.

But Mr. Gordon cautioned that unlike mergers and acquisitions in other industries, growing consolidation in publishing could have an unforeseen cultural ripple effect.

“It’s not that I’ll pay a dollar more for a book, it’s that control of the arena of ideas gets limited,” he said. “If the variety of ideas — if the venues for people who want to challenge the mainstream ideas — narrows, then in addition to something costing me a dollar more, we’re talking about something entirely different.”

Sours: https://www.nytimes.com/2021/03/29/business/media/harpercollins-houghton-mifflin-harcourt.html
Publisher Preview: Harlequin at Speed Dating Spring 2021

You just have to listen to me, be obedient and follow my script. This thought, the thought of control, of power, that you are only a part of my plan, a toy in my hands, adds. Piquancy to the already started game. -but you are near, - I answer - it's not so late, let's take a walk.

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This is the story that happened in our family. He began to shoot these silhouettes behind the tape, and then moved the camera behind it. The wife was on her knees with closed eyes, and in turn sucked one or the other, while jerking off the one that did not.

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