"Actually, I find it great fun to develop family series with lots of characters"
About this Quote
Roberts is confessing a craft preference, but she’s also revealing the business model behind her brand: abundance. “Great fun” reads breezy, even modest, yet it quietly signals mastery. Juggling “family series” and “lots of characters” isn’t casual entertainment; it’s a deliberate engine for momentum, loyalty, and scale. The line frames a demanding architecture as play, which is part of the charm of a prolific storyteller who makes the complex feel inviting.
The phrase “develop” matters. It’s not just writing a sequel; it’s world-building with a long view, treating a family as a living system where every cousin, sibling, or in-law can spin off into their own emotional arc. Roberts understands what serial fiction does best: it turns the reader’s attachment into a return ticket. A large cast isn’t clutter; it’s a promise that the story won’t end when one romance resolves. It’s also a subtle democratization of desire and agency. When there are “lots of characters,” no single love story has to carry the whole fantasy of a community. Different personalities, ages, and wounds get room.
Contextually, this is the voice of an author who helped normalize romance as a massive, modern entertainment machine, not a guilty pleasure. She’s naming the mechanism: familiarity plus expansion. The subtext is confidence: she can orchestrate a crowd, keep emotional continuity, and still deliver the payoff. “Fun” is her way of saying control without sounding controlling.
The phrase “develop” matters. It’s not just writing a sequel; it’s world-building with a long view, treating a family as a living system where every cousin, sibling, or in-law can spin off into their own emotional arc. Roberts understands what serial fiction does best: it turns the reader’s attachment into a return ticket. A large cast isn’t clutter; it’s a promise that the story won’t end when one romance resolves. It’s also a subtle democratization of desire and agency. When there are “lots of characters,” no single love story has to carry the whole fantasy of a community. Different personalities, ages, and wounds get room.
Contextually, this is the voice of an author who helped normalize romance as a massive, modern entertainment machine, not a guilty pleasure. She’s naming the mechanism: familiarity plus expansion. The subtext is confidence: she can orchestrate a crowd, keep emotional continuity, and still deliver the payoff. “Fun” is her way of saying control without sounding controlling.
Quote Details
| Topic | Family |
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