"This sort of generalization -- that women read romance because their lives are lacking in romance -- is as groundless as assuming that a mystery fan must be hungry for more mystery in her life, or that fantasy fans crave less reality in their lives. It also feeds the stereotype of a romance reader as a woman 'hungry for love.' Phooey." ~ Eileen Wilks
"You've got two different genders, each speaking English. But as long as you're looking at these different genders trying to talk together and communicate, you'll have plenty of material. It's always interesting, funny, and even basic." ~ Christina Dodd
"...In a society where, until recently, intelligent, resourceful women have often been marginalized, the story of an inherently strong female who takes control of her life and achieves her goals is one of the fundamental reasons fans love the genre and keep coming back for more." ~ Teresa Medieros and Susan Phillips
"The romance is "a love story in which the central focus is on the development and satisfactory resolution of the love relationship between the two main characters, written in such a way as to provide the reader with some degree of vicarious emotional participation in the courtship process." ~ Kristin Ramsdell
"After all, romance fiction has historically been a genre written by women for women and it has had to endure a lot of criticism, not just from male critics but from female critics who wanted to be taken seriously by male critics." ~ Jayne Ann Krentz
"It wasn't that long ago that mysteries were denounced as trashy reads. They appeared almost exclusively in cheap paperback editions. Their covers were lurid and provocative with lots of bosomy women and tough-looking men with five o'clock shadows and dashing trench coats. The books were accused of being formulaic and predictable. Reviewers ignored them. Educated people did not want to be seen reading them in public. ~ Jayne Ann Krentz
"The bottom line here is that the prejudice against romance fiction, while strong and virulent for generations, is actually nothing more than a particularly sharp extension of our culture's overall prejudice against the whole of popular fiction." ~ Jayne Ann Krentz
"...the most frequently heard insults of the genre: it's anti-feminist, it presents too many woman as needing to escape abusive relationships, all the books are the same, it's just pornography for women, it's unrealistic, it's fluff, and it can't be serious if half the population doesn't care about it." ~ Valerie Taylor
"Romances are not about sex. Romances appeal to your emotions, and they are about commitment, about two people who meet each other and decide they like each other, but something keeps them apart, so they both struggle, work, and go through whatever is necessary to ensure that they can be together." ~ Ann Bourcius
"Romance novels are the last genre that librarians feel comfortable
censoring. In fact, many librarians seem to view this as a social
obligation.
They censor romances using direct methods: refusal to purchase, refusal
to
catalog. They censor romances using indirect methods: negative
attitudes,
comments from staff." ~ Shelley Mosley, John Charles, and Julie Havirl
"The best strategy for increasing market share is not to have so
many boundaries around the marketplace. We're redefining and blurring
what we would call romance." ~ Judith Curr
"Romance offers a guarantee to the reader: You are going to get a
certain type of story if you read this book. You are going to feel
good. Characters are going to receive emotional justice and villains
will get their due." Charis Calhoon
"We had to convince our marketplace and our own company that it is
possible to have Christian romance, because a lot of people assume that
'romance
means 'erotica.' What we focused on is that the Bible is a
romance -- a love story between God and his people." ~ Anne Goldsmith
"The difference between romance and women's fiction is not paperback
versus hardcover. The difference is that, in a romance, the romantic
relationship between the hero and heroine is the core of the book. In
women's fiction, family relationships and friendships are just as
important." ~ Leslie Gelbman
"No matter what they're called -- a continuity, a mini-series, a
trilogy, or simply a series romance -- readers, authors, and publishers
carry on a passionate affair with novels that feature on-going stories
of a cast of beloved characters. Be they virgins or villains...." Amy
Berkower
All About Romance: the
Back-Fence for
Lovers of Romance Novels is a reasonably comprehensive site. A good
source for reviews. Colorful, chatty, and good sense of sharing
interest in
books. Contests.
Escape
to Romance. com is currently rebuilding, but has an excellent
selection of reviews. I especially like their seven rose review tags
and their sensuality scale. The latter can be especially useful for the
librarian in a conservative community. There are five values:
Books to Watch Out For is an
Internet newsletter with thoughtful reviews of lesbian and gay fiction
[non-fiction too].
Resources for Romance Readers has links to about 1,000 author web sites, reviews, and some theme articles.
Road to Romance is attractive and elegant. Author interviews and reviews. Good selection of links.
RomanceDB is a searchable database of more than 7,000 authors and 45,000 titles. Good list of pseudonyms, reviews from the Romance Reader and links to author sites. Easily used.
Romance Novel Sequels and Prequels can answer several questions about the genre.
The Romance Reader contains a large number of reviews and other useful resources helpful for reader guidance. Easily used.
Romance Writers of America has many resources useful for reader guidance. Most of the notable romance writers are members of the RWA. Note page for librarians. Good for romance book business news.
Subversion: Celebrating Women's Fiction is an interesting and appropriate title. In romances, the women always win. Easily used and considerable useful content. Author interviews. Reviews. Involving "soapbox" feature. Romance news.
All I Need to Know in Life I Learned From Reading Romance Novels by Victoria M. Johnson. Each chapter begins with a novel excerpt. Back matter includes useful information on the genre and sub genres.
Dangerous Men and Adventurous Women by Jayne Ann Krentz "explodes the myths and biases that haunt both the writers and the readers of romance." Contributors write on a variety of topics. An excellent introduction.
North American Romance Writers by Kay Mussel and Johanna Tunon covers about 30 contemporary authors. Each romance author has contributed an essay and there is a useful bibliography.
Kristin Ramsdell is the romance reviewer for Library Journal. Her Romance Fiction: A Guide to the Genre is part of the "Genreflecting Advisory Series." Good introduction and chapters on useful resources. Most chapters discuss particular sub genres such as historical romances. Her earlier work, Happily Ever After: A Guide to Reading Interests in Romance Fiction remains useful.
Romance Reader's Advisory: the Librarian's Guide to Love in the Stacksby Ann Bouricius is a most helpful, recent, comprehensive guide to the literature. Includes RA interview questions and promotional ideas.
Romantic Times is the best known and most popular of the periodicals devoted to romance fiction, writers, and readers. It should be in the popular periodical collection of all public libraries and should be scanned by collection developers.
Readers may be intrigued by the notion of writing romance fiction or may just want to know more about the process. You Can Write a Romance by Rita Estrada and Rita Gallagher is a good handbook for the beginning writer. The Complete Idiot's Guide to Getting Your Romance Published is another possibility.
A romance is a love story that focusing on a changing relationship between two central characters, normally a man and a woman. It is about two people falling in love. The story ends in a positive, satisfying conclusion (happy ending). Usually, there is some sort of misunderstanding or conflict between the man and woman and the plot tells the reader how that is resolved into a strong, lasting relationship. Characters grow and change. Because the story focuses on this central relationship, dialog is often more important than description. Characters are often stereotypical.
The Romance Writers Association votes on the best work of the year. The RITA award is named after Rita Clay Estrada, the Association's first President. Awards are given in 12 categories. Beginning with the 2002 awards, non-members can enter.
The notion of two people struggling to find themselves and to make
their
relationship work is a universal one. Love stories have emotionally
satisfying and positive endings. These have considerable appeal to
women
and some men. The happy ending makes the reader feel good. Good people
are
eventually rewarded in this world and evil people are punished. Those
who
fight the good fight are rewarded with "emotional justice and
unconditional
love." Typically, validate or reaffirm the value of marriage and the
family.
Romance stories also give the reader an opportunity to experience situations and outcomes that affirm feminine values of nurturing, commitment, and developing increased self-esteem.
Romance stories engage the emotions. Readers laugh, cry, and are
aroused. They identify with the main character and live her life.
In romance fiction, strong, intelligent women are winners.
Regardless of
the challenges, they triumph. Female empowerment is an
important appeal
element. The man is forced to acknowledge the woman's value and worth.
As romance novelists turn their talent to genre mixes, many romance
novels, especially the adventure romance seen in the Silhouette
Bombshell, will contain enough adventure and action to attract a
younger audience and perhaps some males as well..
With romance plus mystery or SF or history as well as more
sophisticated plotting and writing, many romances will share the appeal
elements of other genres. However, the amount erotic content may
sometimes be a problem. Possibilities for merging genres and sub genres
seem endless. For example, erotic SF romance is popular at the moment,
but mostly with romance readers who enjoy the speculative elements.
A large number of romance novels are part of a series. That may be a
publisher or an author series. In both cases, the series eliminates
selection risk by the reader and gives them a chance at another
comfortable, interesting read. Series create problems for libraries
when our holdings of a series are incomplete. This is particularly a
problem with mass market paper editions where individual titles go OP
quickly. Some series will have more than a dozen volumes. Silhouette's
Family Secrets series was a good example of a continuity. Some compared
it to a TV show.
The romance must have considerable appeal. More than half of all mass market paper editions are romance novels. This is the most popular of the several genres. About 2000 new romances are issued each year. Harlequin, with nearly 500 titles per year, is the largest and most visible publisher. More than 50 million women in North America read romances. Barbara Cartland, the British queen of the genre, has published 688 romance novels for 750 million copies in 36 languages. One librarian found that "romance paperbacks circulate three times more than westerns, two-and-a-half times more than science fiction and fantasy paperbacks, and three times more than mystery paperbacks."
The following statistical data come from a report made available by the Romance Writers of America.
About 18 percent of all books sold are romances. They account for
about 54
percent of all popular paperback fiction sold and 38 percent of all
popular
fiction sold. In contrast, mystery represents 26 percent of popular
fiction
sales and SF/fantasy is about 8 percent. Harlequin's various imprints
account for more than half of all romance novels published.
There were 2,169 romances issued in 2001. About 59 percent of these
are
contemporary in time and 29 percent were historical. About four percent
were
paranormal in theme (includes time travel and SF) and six percent were
inspirational. Torstar (Harlequin, MIRA, Silhouette, Steeple Hill)
issued the
most romances with 733. Kensington was second with 219 and Pearson
(Berkley,
NAL, Dutton, Jove, Onyx, Putnam, Penguin Signet, Topaz, Viking) was
third
with 176.
In 2001, contemporary romances accounted for 60 percent of the
market, with historicals at 28 percent, paranormals at four percent,
inspirational at six percent, and teen romances at one percent.
In 2003, romance represented 19 percent of all trade books sold.
General fiction was second.
About 41 million people read a romance in the past year, including 3.5 million men (about nine percent). Seventy-one percent of romance readers read their first romance at age 16 or younger. Nearly 37 percent of all romance readers live in the South, 26 percent in the Midwest, 20 percent in the West and 18 percent in the Northeast.
Seventy-seven percent of romance readers are white, 11 percent are
African-American, and nine percent are Hispanic.
Nearly 57 percent of romance readers are married and 23 percent are single. Nineteen percent are between the ages of 45 and 54. Fourteen percent are between 25 and 35, 13 percent are between 65 and 74, and 12 percent are between 55 and 54 years of age.
Nearly a third of romance readers are high school graduates and 28 percent are college graduates. About 25 percent are vocational/trade school graduates and nine percent have post graduate degrees.
Sixty percent of romance readers live in towns of 50,000 people or less.
About 41 percent of romance readers are not employed outside the home. Thirty-nine percent are employed full-time and 16 part-time. Thirty-two percent of romance readers are white collar employees and 24 percent are in service positions. Another 22 percent are in administrative support positions and 10 percent are business owners or managers.
Twenty-three percent of romance readers earn between 50,000 and 75,000 per year. Twenty-one percent earn between 10,000 and 25,000. Eighteen percent earn between 35,000 and 50,000 and 15 percent earn between 25,000 and 35,000.
Most romance fiction readers are between 31 and 40 years of age. Many of these read five books each month. Contrary to popular belief Harlequin surveys find that most romance fiction readers attended or graduated from college and more than half work outside the home. "The image of the dissatisfied housewife devouring romance novels is not and has never been true of the majority of the genre's readership."
As the population ages, romance readers age as well. There is more
interest in stories involving older women.
Dorchester, a major romance publisher, began a series of romance
stories aimed at teens in 2003. The Smooch
imprint consists of two books per month and has sold well.
This is the most popular sub genre after CONTEMPORARIES. Historicals
are
more likely to contain "heightened sensuality" today as well as more
humor.
There is also a trend to focus more on the characters and to include
somewhat
less historical detail. "What sells today in historicals can be summed
up in
three phrases: really funny, really sexy, really tear jerking.
(Jennifer
Enderlin)" Too, heroines increasingly have 20th Century values and
attitudes. Certain settings and periods seem much more popular than
others. For example, the Middle Ages and the English Regency period are
popular as are some large cities such as New Orleans, New York, San
Francisco, and London. Since popular settings and periods change, the
alert reader's adviser will keep up with what seems to be popular at
the moment.
This remains a most popular sub genre, and may account for as much
as half
of the romance best sellers at some chain book stores. Contemporary
romance is expanding to reach new audiences. For example, Harlequin has
launched its Bombshell imprint with "kick-ass" female heroines. If
Chick lit is part of the genre, some question that, it began with Bridget Jone's Diary in 1997. The
stories are about young single women in the big city. Often there is a
preoccupation with material goods and finding the right man when there
are so many wrong ones. "Chick Lit describes a type of commercial
fiction centering on the adventures of a young working woman. She
usually has a rubbish boyfriend and nagging mother. Sometimes she has a
cat too. The book itself frequently has a bright pink cover and
includes copious quantities of sex." Often there is witty,
self-deprecating humor.
More explicit sexuality seems to be popular at the moment ["steamy'
according to PW] and this may cause problems for libraries although
usually these will be in mass market editions. Kensington's Brava
imprint has an erotic focus even though the covers are not.
We are just beginning to see romance novels with main characters in
their 50's and 60's. These should be increasingly popular as the
population ages. Although limited, romance stories featuring "plus
size" women also seem to have an audience.
As the romance genre became more popular, and more respectable, major romance authors began to write contemporary women's fiction which pays much better, often appears in hard covers, is more likely to be reviewed, and is more likely to be seen as "literature." Readers of contemporary women's fiction will find a great variety and some excellent writing in the romance genre. Romance genre readers will find solid, enjoyable works in women's fiction.
As the sub genres of romance blossom, readers of other genres find
attractive reading in romance novels. For example, romantic suspense
will
attract mystery readers. Historical romance may attract readers of
historical
fiction and so on. There is some anecdotal evidence that romantic
suspense attracts readers who don't like romance novels.
Romance authors write many books. Eleanor Hibbert (aka Jean Plaidy, Victoria Holt, and Philippa Carr) published about 200 novels. Nora Roberts has written more than 130 novels. Several popular authors write one or two novels each year. It is difficult for libraries to keep up with such output.
Romance authors have found web sites to be especially useful in developing relationships with readers. One author has more than 20,000 readers on a mailing list. Libraries should make it easy for readers to connect with their favorite authors.
Traditionally, romance fiction consisted of stand-alone works, especially since the hero and heroine solved their problems at the end of the story. In the last decade or so, however, series have become popular where an author follows a particular family or a particular group of characters through somewhat related stories.
Higher prices for mass market editions, and the trend to more trade
paper
and hard cover editions by brand name authors have reduced the number
of
books that many readers can buy. This is also true of libraries.
Harlequin, the romance leader, saw falling sales in 2004 and is
countering by adding some new imprints for more diversity.
With increased popularity, publishers have begun to issue more romance originals in trade paper and hard cover editions. This is a boon to library users since these editions are more likely to be reviewed in standard sources and receive normal technical service treatment. It is a problem for readers, many of whom read several romances in a week, since they cannot afford to read as many of their favorite authors in first publication. This may create more interest in the library collections.
Although relatively new (1994 or so), Christian romance novels have
a
growing audience. Many are sold in Christian book stores rather than
the
trade. Wholesome romances fit well with the popularity of conservative
Christian values. They are also popular with some older female readers.
In 2004, the Christian Bookseller's Association estimated that
Christian fiction sales were more than two billion dollars per
year and that the market share of Christian romance has grown 25
percent since 2001. There is an American Christian Romance Writer's
organization with an annual conference. See Write From the Heart.
Harlequin will soon begin a Christian chick-lit imprint, Steeple
Hill Cafe.
At the same time, there appears to be growing interest in romance novels that are more explicit. These stories appeal to younger readers while older readers often prefer more complicated and detailed stories with a focus on character development and realistic settings.
Although the multi-cultural romance is only a few years old, it is increasingly popular, especially since publishers realize that in a few years a large proportion of the population will be Hispanic or African-American. Kensington is now issuing its Encanto romances which are bilingual with Spanish and English. Harlequin has four Spanish series. While most are issued as identified series, some multi-cultural romances appear elsewhere and may be difficult to identify. There has been a substantial increase in the number of African-American romance readers.
1. Is it reasonable to classify genres and sub genres as female and male? If so, which are which? Which appeal elements are associated with male readers? Which are associated with female readers? Would a men read a romance novel? Why?
2. What is romance? What is it that makes a work romance fiction rather than general fiction or even "literature?" When is a "historical romance" really "historical fiction," for example?
3. Soft porn romance is a relatively recent and somewhat popular trend. Should libraries select such works? Why?
4. Romance stories almost always have happy endings. How important is the happy ending for other fictional genres?
5. Is romance fiction as needed now that nearly all genres have notable female authors and strong female main characters?
6. Some argue that romance fiction is not realistic? Do you agree? Why? To what degree is this true of the other fictional genres? If true, is this a problem?
7. Does it seem reasonable that women read romance fiction because their lives lack romance? What about men?