A romance or romantic novel is a type of book that focuses on the relationship and love between two people. These stories often end with a happy or satisfying conclusion. Many authors have helped shape this genre, including Samuel Richardson, Frances Burney, Maria Edgeworth, Jane Austen, Charlotte Brontë, Emily Brontë, and Anne Brontë.
Romance novels can include different types, such as bodice ripper, fantasy, contemporary, historical romance, paranormal fiction, sapphic, and science fiction. These books often use common story patterns, like enemies becoming lovers, a second chance at love, or characters being forced to spend time together. While women have traditionally been the main readers of romance novels, a 2017 study by the Romance Writers of America found that 18% of people who buy romance books are men.
The idea of romance stories existed in ancient Greece. Earlier examples can also be found in books from the 18th and 19th centuries, such as Samuel Richardson’s Pamela, or Virtue Rewarded (1740) and the works of Jane Austen. Austen inspired Georgette Heyer, a British author who wrote historical romance novels set during Austen’s time and also created detective stories. Heyer’s first romance novel, The Black Moth (1921), was set in 1751.
In the 1930s, the British company Mills & Boon began publishing romance novels for women. These books were sold in North America by Harlequin Enterprises Ltd, which started directly marketing to readers and allowed stores to sell the books.
An early example of a mass-market romance in the United States was The Flame and the Flower (1972) by Kathleen E. Woodiwiss, published by Avon Books. This was the first romance novel to be released as an original paperback in the U.S. In the UK, the romance genre had already been popular through the works of Georgette Heyer, whose books included many common story patterns and stereotypes, some of which have been removed from newer editions.
Strong sales of romance novels have made this genre one of the largest parts of the global book market. The genre grew significantly in the 1980s, with more subcategories and single-title romance novels. Authors also began exploring new ideas, characters, and storylines to expand the genre.
Definition
According to Joan Schulhafer of Pocket Books (1982), the Romance Writers of America state that the main story in a mass-market romance novel must focus on two characters who fall in love and build a relationship. The conflict and climax of the story should connect directly to this central theme, even though the novel may include other storylines that are not about the main characters’ romance. A romance novel must also end with an outcome that feels emotionally satisfying and hopeful.
Leslie Gelbman, president of Berkley Books, says the genre centers on the romantic relationship between the hero and heroine being the most important part of the book. Generally, romance novels show kind characters being rewarded and unkind characters facing consequences. A couple who works to save their relationship is often shown receiving love without conditions. Bestselling author Nora Roberts explains that romance novels celebrate love, emotions, and commitment—things people value.
Most romance novels follow strict rules, but some books widely called romance novels do not. The Romance Writers of America define romance novels as stories focused on a growing romantic relationship and a happy ending. Escapism is important, as one Avon executive noted that in romances, problems like phone calls, babies crying, or overdue rent are avoided. Many publishers, libraries, and critics still use traditional definitions to classify books.
There is disagreement among romance authors about what should be included in romance plots. Some believe the genre has rules, such as requiring the main characters to meet early in the story or avoiding topics like cheating. Others argue that stories without happy endings, as long as they focus on the romance between two characters (like Romeo and Juliet), can still be considered romance novels.
Romance novels can take place in any time period or location, even in space. There are no strict limits on what can be included, and some books address difficult topics like abuse, addiction, or disability. The setting, time, and story elements help classify a novel into a romance subgenre. However, many people say all romance novels feel similar, even though they have different settings and plots. Some people think all romance novels are like those by Danielle Steel, which feature wealthy characters in exotic places. Many readers disagree, saying Steel’s books are more like general fiction.
Mass-market or formulaic romance novels are sometimes called “smut” or female pornography. These books are the most popular form of modern adult fiction for women. Some romance novels include explicit scenes, while others only show characters kissing. The genre ranges from these extremes. Since 90% of all romance novels are bought by women, most are written from a woman’s perspective, using either first or third person.
Most romance novels focus on heterosexual relationships, but some explore same-sex relationships. Books about same-sex relationships are sometimes labeled F/F (female/female) or M/M (male/male) in the publishing industry.
Although most romance novels end happily, some famous literary fiction romance novels have sad endings. Examples include Wuthering Heights by Emily Brontë, Anna Karenina by Leo Tolstoy, The Thorn Birds by Colleen McCullough, Norwegian Wood by Haruki Murakami, Atonement by Ian McEwan, and The Song of Achilles by Madeline Miller.
History
Stories about romantic love were written in ancient Greece. More than twenty ancient Greek romance novels are known, but most of them only survive as incomplete or broken pieces. Five ancient Greek romance novels have survived almost completely: Chareas and Callirhoe, Leucippe and Clitophon, Daphnis and Chloe, The Ephesian Tale, and The Ethiopian Tale.
A type of story that is similar to modern love-romance novels can be found in Pamela, or Virtue Rewarded by Samuel Richardson, published in 1740. Pamela was the first popular novel to tell a love story from the heroine’s point of view. Unlike many other novels of that time, Pamela ends with a happy outcome. After Mr. B tries to force Pamela into a relationship multiple times, he eventually proposes a fair marriage to her because of her strong character. The book became very popular, with five editions printed in the first eleven months. Richardson originally wrote Pamela as a collection of letters meant to teach moral lessons. He agreed to write the story only if the letters had a clear purpose. As he wrote the letters, they turned into a novel. Richardson aimed to both teach and entertain readers. He wrote Pamela as a guide to proper behavior for men, women, and servants, as well as a story that offered a morally focused option for young readers.
Maria Edgeworth, a romance novelist, influenced the Victorian era with works like Belinda (1801) and Helen (1834). Jane Austen, who admired Edgeworth, also shaped the romance genre and the Victorian era with her novel Pride and Prejudice (1813), which was called "the best romance novel ever written." During the early Victorian era, the Brontë sisters, like Edgeworth and Austen, wrote stories that influenced later fiction. Maria Edgeworth introduced the idea of an orphaned heroine in her works Belinda and Helen. Charlotte Brontë later used this idea in Jane Eyre (1847). Jane Eyre includes elements from gothic novels and Elizabethan drama, showing how the romance genre can change and adapt.
As literary romance fiction continued to develop in the 20th century, a new type of story called genre fiction became more popular after World War I. In 1919, E. M. Hull’s novel The Sheik was published in the United Kingdom. The main character in this book was called an "alpha male" and kidnapped the heroine, winning her admiration through forceful actions. The Sheik was one of the first modern stories to focus on a theme that appeared earlier in Pamela (1740). At the time, publishers believed readers would only accept premarital sex if it was shown as a form of rape, as this was the common practice before the women’s rights movement challenged it. In these stories, the rape was often shown as acceptable by the author and presented as a personal fantasy. The heroine rarely shows fear, stress, or trauma because the author did not consider women to have independent thoughts or rights.
The mass-market version of the historical romance, developed by Walter Scott in the early 19th century, began in 1921 with Georgette Heyer’s novel The Black Moth. This story is set in 1751, but many of Heyer’s novels were inspired by Jane Austen’s works and are set during the Regency period, which was the time Austen lived. Heyer included detailed historical information in her stories to help readers understand the setting. Unlike other popular romance novels of the time, Heyer used the setting as an important part of the story. Her characters often have ideas that were common in the 20th century, and other characters in the stories point out the heroine’s unusual choices, like wanting to marry for love. Heyer wrote one to two historical romance novels each year until her death in 1974.
During the Ming and Qing dynasties in China, a type of printed romantic novel called caizi jiaren ("scholar and beauty") became very popular. These stories usually describe a love story between a talented young woman and a handsome scholar. Examples of these novels include Ping Shan Leng Yan, Haoqiu zhuan, Iu-Kiao-Li, Huatu yuan, Qiao Lian Zhu, Wu Mei Yuan, Bai Gui Zhi, Jin Yun Qiao, Ting Yue Lou, Wu Jiang Xue, Lin er bao, Ying Yun meng, Tiehua xianshi, Shuishi yuan, Jinxiang ting, Erdu mei quanzhuan, Dingqing ren, Qingmeng tuo, and Zhuchun yuan. These stories were influenced by romantic tales from the Tang dynasty, such as Yingying’s Biography and The Tale of Li Wa, as well as works by Song and Yuan dynasty playwrights like Bai Renfu, Zheng Guangzu, and Wang Shifu. These novels were most popular during the 17th century, when many of them were sold and shared widely.
The large number of caizi jiaren novels was criticized in The Dream of the Red Chamber by Cao Xueqin, who wrote, "There are thousands of such 'scholar and beauty' books, and yet they are all alike!" These Chinese romance novels also influenced both Eastern and Western literature for many years.
In the 1930s, British publishers Mills & Boon started releasing hardcover romance novels. These books were sold through weekly libraries and were called "the books in brown" because of their brown covers. In the 1950s, the company began selling their books through newsagents in the United Kingdom.
A Canadian company, Harlequin Enterprises, began distributing Mills & Boon’s romance novels in North America in 1957. Mary Bonneycastle, wife of Harlequin founder Richard Bonneycastle, and her daughter, Judy Burgess, decided which Mills & Boon novels Harlequin would reprint. They followed a set of rules about what was acceptable in the stories. Richard Bonneycastle later decided to read a romance novel and discovered that a more explicit story sold better than a less intense one. Harlequin’s novels were short and followed a
Critical reception
Some important writers have received praise for their romance novels. For example, Gabriel García Márquez, a Nobel Prize winner, was praised for his romance novel Love in the Time of Cholera.
Arthur Schopenhauer believed that romance novels have been written for a long time because the theme of love is always important. He argued that love affects the human race, not just individuals, because choosing a partner is often necessary for having children and continuing the human species.
Even though romance novels have been combined with other genres and are now more accepted, some people still view them negatively. Some readers feel embarrassed to admit they enjoy these books. Critics sometimes say romance novels lack suspense, as it often seems clear that the main characters will solve their problems. Others question whether it is helpful for women to spend time reading stories about perfect love. Author Melissa Pritchard said that romance novels might spread the idea that perfect love exists, which could distract people from learning to love themselves.
Some romance novel writers explain that the stigma comes from the belief that the genre is "written almost exclusively by women for women." Jennifer Crusie, a romance novelist, says that modern romance novels show women being rewarded with love only if they stay true to themselves. Susan Elizabeth Phillips believes that romance novels are popular because the female main character often wins, even after facing difficult challenges.
In recent years, more academic studies about romance novels have been published. Scholars are examining the genre’s importance, especially from perspectives like feminism and gender studies. The popularity of the genre has grown because of the success of book adaptations, such as Outlander by Diana Gabaldon and Bridgerton by Julia Quinn, which were made into television series by STARZ and Netflix. In 2022, it was announced that the bestselling Winston Brothers series by Penny Reid has been chosen for a television adaptation by Tomorrow Studios.
There is ongoing debate about whether certain books belong to the romance genre or cross into other genres. This discussion has gained attention, partly because Diana Gabaldon often says her Outlander series is not romance fiction. However, both academic studies and conversations between Gabaldon and her publisher suggest that the topic of genre labels is more complex than it appears.
Formats
Romance novels are grouped into two main types: category romances, also called series romances, and single-title romances. Some authors write only one type, but others, like Jennifer Crusie and Jayne Ann Krentz, have written successfully in both.
Category romances are short, usually no more than 200 pages or about 55,000 words. These books are published in specific series, with a set number of books released each month. Many books in a series are numbered in order. These novels are sold widely around the world. A typical print run in the United States includes many copies, and books stay on store shelves until they are sold or until new books in the same series replace them. Authors who write for Harlequin/Mills & Boon, a publisher of category romances, may see their books translated into 26 languages and sold in over 100 countries.
To write a successful category romance, the author must focus on the main story and remove or simplify subplots and minor characters. Each category romance series has its own unique style, which may include similar settings, characters, time periods, levels of sensuality, or types of conflict. Publishers provide guidelines for each series, explaining what elements are needed for a book to fit in that series. Publishers often start new series or stop existing ones based on market trends and reader preferences. Recently, new series focused on erotic themes and Christian romance have been added, while traditional Regency romance series have been discontinued.
Single-title romances are not part of a specific series. These books are longer, usually between 350 and 400 pages or about 100,000 to 110,000 words. Publishers may release them over a short time for marketing reasons, but on average, authors write 1.5 books each year and have one published yearly. Single-title books remain on store shelves as long as the store chooses.
Although they are called "single-title," these books are not always standalone. Some authors write connected books, such as trilogies or long series, to revisit characters or worlds. These books may share titles, like "Number 1 in the XXX Series," but they are not considered series romances because they are not part of a specific line.
Subgenres
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The definition of a romance novel does not limit the types of plot devices, time frames, or locations that can be included. Because of this, the genre has grown to include a wide variety of material and has created many subgenres. Romance subgenres are often closely connected to other types of literature. Some books can be considered both a romance subgenre and a novel in another genre. For example, romantic suspense novels are often similar to mysteries, crime fiction, and thrillers. Paranormal romances use elements that are popular in science fiction and fantasy novels.
Contemporary romance, which takes place after World War II, is often what people mean when they refer to a romance novel. Contemporary romance novels are the largest subgenre. They are set in the time when they are written and usually reflect the customs of that time. Heroines in contemporary romances before 1970 usually stopped working when they married or had children. Heroines in contemporary romances after 1970 usually kept their careers. As contemporary romance novels have become more complex and realistic, the line between this subgenre and the genre of women's fiction has become less clear.
Most contemporary romance novels contain elements that make them seem old-fashioned. Many of them eventually become outdated for modern readers and are no longer printed. Those that survive and are still popular, like the works of Jane Austen, are often reclassified as historical romances.
Over half of the romantic fiction published in the United States in 2004 (1,468 out of 2,285 books) were contemporary romance novels. Contemporary romance novels have been chosen twice by Kelly Ripa to be featured in her Reading with Ripa book club.
Historical romance, also known as a historical novel, is a broad category of fiction in which the story takes place in the past. This genre was popularized in the early 19th century by Walter Scott, with works such as Rob Roy and Ivanhoe.
This subgenre includes many other subgenres, such as Regency romance. Most mass-market historical romance novels are not published in hardcover. Fewer than 15 are published in this format each year, which is less than one-fifth of the number of contemporary romance novels published in hardcover. Because historical romances are mostly published in mass-market format, their popularity is somewhat connected to trends in mass-market publishing. Booksellers and large retailers now sell fewer mass-market paperbacks, preferring trade paperbacks or hardcovers. This makes it harder for historical romances to be sold in some price clubs and other mass merchandise outlets.
In 2001, 778 mass-market historical romances were published, which was a ten-year high. By 2004, the number had dropped to 486, which was still 20% of all romance novels published. Kensington Books says they receive fewer submissions of historical novels, and some of their previously published authors have switched to writing contemporary romances.
Romantic suspense involves an intrigue or mystery that the main characters must solve. Usually, the heroine is the victim of a crime or an attempted crime and works with the hero, who is often in a profession that allows him to protect her, such as a police officer, FBI agent, bodyguard, or Navy SEAL. By the end of the novel, the mystery is solved, and the relationship between the hero and heroine has developed into a strong one. These novels usually take place in contemporary times, but some authors, such as Amanda Quick, have also included historical timeframes in their stories.
Like all romance novels, romantic suspense novels must place the development of the relationship between the main characters at the center of the story. The relationship must influence each decision they make and increase the tension of the suspense, which moves the story forward. In turn, the events of the suspense must also affect the relationship and help move the story forward. These novels often have more "clean" language, with less emotional or intimate description than traditional romances. Because the mystery is a key part of the plot, these novels are more plot-driven than character-driven.
The combination of romance and mystery was perfected by Mary Stewart, who wrote ten romantic suspense novels between 1955 and 1967. Stewart was one of the first to seamlessly blend the two genres, keeping a full mystery while focusing on the relationship between two people. In her novels, solving the mystery helps reveal the hero's personality, helping the heroine to fall in love with him.
Paranormal romance mixes the real world with the fantastic or science fictional. The fantastic elements may be part of an alternate version of our world in an urban fantasy that includes vampires, werewolves, or demons. They may also be more common elements like humans with psychic abilities, witches, or ghosts. Time travel, futuristic, and extraterrestrial romances also fall under the paranormal category.
These novels often mix elements from other subgenres, such as suspense, mystery, or chick lit, with their fantastic themes. Some paranormal romances are set entirely in the past and are structured like historical romance novels. Others are set in the future, sometimes on different worlds. Still others include time travel, with either the hero or heroine traveling into the past or future. Between 2002 and 2004, the number of paranormal romances published in the United States doubled to 170 per year. A popular title in this genre can sell over 500,000 copies.
Many paranormal romances focus on blending aspects of contemporary American life with the existence of supernatural or magically powerful beings, whether human or not. Sometimes the larger culture is aware of the magical in its midst, and sometimes it is not. Some paranormal romances focus more on the romance than on the details of their alternate worlds, similar to traditional romance novels. Others develop the alternate world in detail, combining well-planned magical systems and inhuman cultures with the real world.
Science fiction romance is a unique blend of three popular genres: science fiction, fantasy, and romance. These novels explore alternate worlds while also offering a fully developed romance. The level of sensuality in these novels varies from chaste to very sexy.
Over the years, many publishers have included futuristic, fantasy, and science fiction romances in their contemporary series (for example, Harlequin Temptation, Harlequin Superromance, Silhouette Special Edition). The first futuristic romance to be marketed by a mainstream romance publisher was Sweet Starfire by Jayne Ann Krentz, published in 1986. It was a "classic road trip romance" that happened to be set in a different galaxy. This genre has become more popular since 2000. Krentz says the popularity of this genre is because these novels are, at heart, classic historical romances that just happen to be set on other worlds.
Science fiction overlaps with other subgenres like steampunk, which mixes science fiction with alternate history set during the Victorian era. It combines historical elements with technology, as seen in the television series The Wild Wild West (1965–1969). Authors in this subgenre include M. K. Hobson and Gail Dayton.
Fantasy romance, also known as romantic fantasy, is a subgenre of fantasy fiction that describes a fantasy story using many of the elements and conventions of the romance genre. Romantic fantasy has been published by both fantasy and romance publishers. Some publishers distinguish between "fantasy romance," which is more like a contemporary fantasy novel with romantic elements, and "romantic fantasy," which focuses more on the romance elements of the story.
Time-travel romances are a version of the classic "fish out of water" story.
Tropes
A trope is a common theme or story element that appears often in books. In romance novels, tropes are specific parts of the story that readers enjoy. Tropes, which are about the story, are sometimes mixed up with "hooks," which are details about characters or settings that interest readers, such as jobs, places, seasons, or traits.
According to India Holton, tropes may seem overused, but they connect with readers because they show "universal experiences and archetypes." They help writers attract readers by giving them something they recognize. Tropes can also be a starting point for new ideas, and authors can change them intentionally to create unique stories. There are many tropes in romance novels, and some of the most common are:
- Love Triangle: Two characters try to win the love of a third person.
- Friends to Lovers: Two friends who have known each other for a long time become romantic partners.
- Forced Proximity: Characters are forced to spend a lot of time together, leading them to fall in love. Arranged Marriage, another trope, is a type of this.
- Enemies to Lovers: Characters who dislike each other learn to overcome their differences and fall in love.
- Forbidden Love: A relationship between characters is not allowed or considered taboo, but it happens anyway. Workplace Romances and other details about characters’ roles or relationships are often part of this trope.
- Second Chance: Characters who were once together but broke up find a way to reconnect.
- Fake Relationship: Characters agree to pretend to be in a relationship, but it becomes real.
- Soulmates: Characters are drawn together because of a strong, unavoidable connection.
Explicit content
The presence or absence of sexual content in romance novels, along with the type of content, is important for readers. Readers, reviewers, and publishers often use terms like “spice,” “steam,” or “heat” to describe this content. Whether a story has explicit content depends on different people’s opinions. It considers not only how much sexual content is in the story but also the kind of content and how detailed the descriptions are.
Some publishers or authors use content ratings for their books based on their own rules. It is sometimes controversial to include explicit content ratings in library catalogs. The American Library Association believes that labeling books with explicit content ratings is a form of censorship. It also thinks that labeling implies that all books in a catalog have been reviewed. However, some libraries use tags to describe this content in their catalogs. These tags help library staff assist readers but may be harder for general users to find.
Markets
The romance fiction market was not affected by the economic recession in 1982, with readers spending up to $40 each month on romance novels. That year, paperback romances made $300 million in sales, and the audience was estimated to include 20 million readers. A survey of 600 regular romance readers found that they were similar to the general population in age, education, and family and job status. Over half of the women surveyed had some college education, and 40% had full-time jobs. Sixty percent of the women read at least one romance novel every two days. The women said they read romances to reduce stress, for mental escape, and to learn about history and new careers.
In 1982, at least 25% of all paperbacks were romance novels; by 1991, they made up 46% of all mass-market paperbacks sold in the United States. This growth was partly due to readers who purchased many books, with over half of Harlequin’s customers buying 30 novels each month. By 1991, the romance novel audience was more educated, with 45% having college degrees, and more than half of the audience working outside the home.
By the 2000s, romance became the most popular genre in modern literature. In 2008, romantic fiction made $1.37 billion in sales, with 7,311 romance novels published and making up 13.5% of the consumer book market. Over 74 million people said they had read at least one romance novel in 2008, according to a study by the Romance Writers of America. The study found that 9.5% of romance readers were men, and romance readers were more likely to be married or living with a partner. According to the study, 84% of romance buyers were women and 16% were men. Of the entire American population, 24.6% read at least one romance novel in 2008.
In 2024, a company called 831 Stories began publishing covers without images or illustrations to create a kind of shared understanding between readers.
— The New York Times, 2004
In 2008, 74.8 million people read an English-language romance novel. Harlequin sells more than 4 books per second, half of them internationally. Author Heather Graham said this is because emotions are easy to understand. In the United Kingdom, over 20% of all fiction books sold each year are romance novels.
Although romance novels are translated into over 90 languages, most authors of women’s fiction are from Great Britain or North America. In France, where over 12 million romance novels are sold each year, all are translations, as are almost all Harlequin novels in Italy. Some publishing companies in Germany do not allow their romance authors to use their own names, fearing readers will not buy a romance novel without an American pseudonym.
Stories from the United States and United Kingdom are sometimes less successful in European markets. In Italy, the strongest market for chick lit books from Red Dress Ink, romance readers do not like stories about cowboys, as cowboys are not common in their culture. The paranormal romance genre is not popular in countries like Poland and Russia, but historical romance is very successful. Inspirational romance does not sell well in Europe, where romances with babies are popular. German readers enjoy more erotic romance novels, and some German translations of English romance novels add or expand love scenes in otherwise simple stories. Other German translators may remove or censor love scenes.
As of 2014, romance was the most popular literary genre in Russia (chosen by 13% of respondents), especially among younger readers.
In 2004, sales of romance novels in Australia increased by 28% compared to the previous year. Between 1999 and 2004, the number of new romance titles released increased by 40–50%. Harlequin, which received 20,000 unsolicited manuscripts each year, found that women make up 99% of romance readers.
Awards
The most important and well-known awards for romance novels are the RITA Awards. These awards are given every year by the Romance Writers of America to the best books in the romance fiction genre.
Another important award is the Romantic Novel of the Year Award (RoNA), which is given by the Romantic Novelists' Association. This award has different categories:
- Contemporary Romance
- Historical Romance
- Romantic Comedy
- Fantasy Romance
- Romantic Thriller
- Romantic Saga
- Shorter Romantic Novel
- Debut Romance Novel