A romance or romantic novel is a type of story 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 stories often use common themes, like enemies becoming lovers, a second chance at love, or characters being forced to spend time together. While women have usually been the main readers of romance novels, a 2017 study found that 18% of people who buy romance books are men.

Stories now called "romance novels" existed in ancient Greece. Earlier examples can be found in 18th- and 19th-century books, 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.

The British company Mills & Boon began publishing romance novels for women in the 1930s. 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 novel 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 include many common themes 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 a lot in the 1980s, with more subcategories and more single-title romance novels. Authors began to explore new ideas, plots, and characters that reflected modern life.

Definition

According to the Romance Writers of America, the main story of a mass-market romance novel must focus on two people as they fall in love and build a relationship. Both the conflict and the climax of the novel should directly relate to this theme of developing a romantic relationship. Subplots that do not involve the main characters’ love story may also appear. Additionally, a romance novel must end with an "emotionally satisfying and optimistic ending."

Leslie Gelbman, president of Berkley Books, explains that the genre requires the "romantic relationship between the hero and the heroine … to be the core of the book." In general, romance novels show good characters being rewarded and bad characters being punished. A couple who works to build their relationship is often shown receiving unconditional love. Bestselling author Nora Roberts says the genre focuses on celebrating love, emotion, and commitment.

While most romance novels follow these rules, some books widely considered romance novels do not. The Romance Writers of America’s definition includes only the focus on a developing romantic relationship and an optimistic ending. Escapism is important in the genre; an Avon executive noted that in romances, "the phone never rings, the baby never cries, and the rent is never overdue." Many publishers, libraries, bookstores, and critics still use traditional definitions to categorize books.

There is disagreement among romance authors about what should be included in plots. Some believe the genre has rules, such as requiring protagonists to meet early in the story or avoiding certain themes like adultery. Others debate the need for a happy ending, as some readers accept stories with sad endings if the focus is on the romantic relationship, like Romeo and Juliet.

Romance novels can take place in any time period or location, including space. There are no strict rules about what can be included in a romance novel. Topics such as date rape, domestic violence, addiction, and disability are sometimes addressed. However, the setting, time period, and plot help classify a novel into a subgenre. Despite this variety, some people say all romance novels feel similar. For example, some believe 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 mainstream fiction.

Mass-market or formulaic romance novels are sometimes called "smut" or female pornography. These are the most popular form of modern erotica for women. While some romance novels include explicit content, others only show characters kissing. The genre includes a wide range of stories. Since women buy 90% of all romance novels, most are written from a woman’s perspective, using first or third person narration.

Although most romance novels focus on heterosexual relationships, some books explore same-sex relationships. These are sometimes labeled as F/F (female/female) or M/M (male/male) in the book industry.

While most romance novels end happily, some famous literary fiction romance novels end tragically. 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

Romantic love stories were written in ancient Greece. Over twenty ancient Greek romance novels are known, but most only survive in incomplete forms. Five ancient Greek romance novels have survived nearly completely: Chareas and Callirhoe, Leucippe and Clitophon, Daphnis and Chloe, The Ephesian Tale, and The Ethiopian Tale.

A precursor to modern popular love stories is Pamela, or Virtue Rewarded by Samuel Richardson, published in 1740. Pamela was the first popular novel to tell a love story from the perspective of the heroine. Unlike many novels of that time, Pamela ended with a happy resolution. After Mr. B tries to seduce and harm Pamela multiple times, he eventually proposes marriage to her. The book became very popular, with five editions printed in its first eleven months. Richardson originally wrote Pamela as a collection of letters with a moral purpose. As he wrote, the letters turned into a story. Richardson aimed to both teach and entertain readers. He wrote Pamela as a guide to proper behavior for men, women, and servants, while also providing a morally focused story for young readers.

Maria Edgeworth, a romance novelist, influenced Victorian-era writers with her works, including Belinda (1801) and Helen (1834). Jane Austen, who admired Edgeworth, also shaped the romance genre with her novel Pride and Prejudice (1813), which was called "the best romance novel ever written." In the early Victorian era, the Brontë sisters, like Edgeworth and Austen, wrote literary fiction that influenced later popular stories. Maria Edgeworth introduced the "orphaned heroine" character in Belinda and Helen. Charlotte Brontë later used this character in Jane Eyre (1847). Jane Eyre combines elements of gothic novels and Elizabethan drama, showing how flexible the romance genre could be.

As literary romance fiction developed 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. The hero of this book was a strong, dominant man who kidnapped the heroine and won her admiration through force. The Sheik was one of the first modern stories to include the theme of "rape fantasy," a concept also seen in Pamela (1740). At the time, publishers believed readers would only accept premarital sex if it was framed as a fantasy. In these stories, the heroine rarely shows fear or trauma.

The popular historical romance genre, developed by Walter Scott in the early 19th century, began in 1921 with Georgette Heyer’s novel The Black Moth. This book is set in 1751, but many of Heyer’s novels were inspired by Jane Austen and set during the Regency period. Heyer included detailed historical information to help readers understand the time period. Unlike other romance novels, Heyer used the setting as an important part of the story. Her characters often had modern attitudes, and other characters in the books often criticized the heroine for 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 romantic novel called caizi jiaren ("scholar and beauty") became very popular. These stories often involved a talented young woman and a handsome scholar. Examples include Ping Shan Leng Yan, Haoqiu zhuan, Iu-Kiao-Li, and others. These novels were influenced by earlier Tang dynasty stories like Yingying's Biography and works by Song and Yuan dynasty playwrights. They were most popular in the 17th century.

The large number of caizi jiaren novels was mocked in The Dream of the Red Chamber by Cao Xueqin, which said, "There are thousands of such 'scholar and beauty' books, and yet they are all alike!" These Chinese romance novels had a lasting influence on both Eastern and Western literature.

In the 1930s, British publishers Mills & Boon began 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, Mills & Boon started selling their books in newsagents across the UK.

In 1957, a Canadian company called Harlequin Enterprises began distributing Mills & Boon’s romance novels in North America. Mary Bonneycastle, wife of Harlequin’s founder, and her daughter Judy Burgess controlled which books were reprinted. They rejected more explicit content. Richard Bonneycastle, Harlequin’s founder, later read a more explicit romance novel and found it popular. Harlequin’s novels were short and followed a formula, featuring heroines who were kind, pure, and innocent. Heroines who worked did so in traditional roles like nurses or secretaries. Romantic scenes in the books never included physical intimacy beyond a chaste kiss.

On October 1, 1971, Harlequin bought Mills & Boon. By then, romance novels were already popular in the UK. Harlequin tried to copy Mills & Boon’s success in North America by improving distribution and selling books in places where women shopped, like supermarkets. All Harlequin books were exactly 192 pages. They also started a service where readers could buy a set number of books each month.

In American literature, themes like rape fantasy, questionable consent, age gaps, underage women, and forced relationships became common due to media censorship laws similar to those in the comic book industry. These laws limited explicit content, leading to the inclusion of such themes in romance novels to compete with other forms of entertainment.

Critical reception

Some important writers have received praise from experts for their romance novels. For example, the Nobel Prize winner Gabriel García Márquez was praised for his romance novel Love in the Time of Cholera.

Arthur Schopenhauer believed that romance novels have been written for many years because the topic of love remains important. He argued that love and relationships are crucial for the survival of the human species, as they often lead to having children and continuing future generations.

Although romance novels have become more accepted and combined with other genres, some people still view them negatively. This has caused some readers to feel embarrassed about reading them. Some critics say romance novels lack suspense because the main characters often resolve their problems in predictable ways. Others question whether it is helpful for women to spend time reading stories that focus on idealized love. Fiction author Melissa Pritchard stated that romance novels might encourage the belief that perfect love exists, which could distract people from learning to love themselves.

Romance novel writers explain that the negative view of the genre comes partly from the idea that it is "written almost exclusively by women for women." Romance novelist Jennifer Crusie said that modern romance novels show women being rewarded with love only when they stay true to themselves. Another author, Susan Elizabeth Phillips, believes that romance novels are popular because the female characters often succeed, even after facing difficult challenges.

In recent years, more studies by experts have examined romance novels. Scholars are increasingly analyzing the genre from perspectives such as feminism and gender studies. The popularity of the genre has also grown because of the success of television adaptations of two book series: Outlander by Diana Gabaldon and Bridgerton by Julia Quinn, which were produced 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 discussion about whether certain novels belong to the romance genre or blend with other genres. This debate has gained attention in the media, partly because Diana Gabaldon often says her Outlander series is not romance fiction. However, both expert analysis and conversations between Gabaldon and her publisher suggest that the discussion about genre labels is complex and not simple.

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, while others, like Jennifer Crusie and Jayne Ann Krentz, have written both successfully.

Category romances are short, usually no more than 200 pages or about 55,000 words. These books are published in specific lines, with a set number of books released each month. Many books in a line are numbered in order. These novels are sold widely around the world and remain on bookstore shelves until they sell out or until new books in the same line are released. Writers 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, authors must focus on the main story and remove or simplify subplots and minor characters. Each category line has a unique identity, which may include similar settings, characters, time periods, levels of sensuality, or types of conflict. Publishers provide guidelines for each line, explaining what elements are needed for a book to fit in that line. Publishers often start new lines or stop existing ones based on reader preferences and market trends. Recently, new lines for erotic and Christian romance have been added, while traditional Regency romance lines have ended.

Single-title romances are not part of a publisher’s category. They are longer, usually between 350 and 400 pages or about 100,000 to 110,000 words. Publishers may release these books over a shorter time for sales and publicity, but on average, authors write 1.5 books a year and publish one each year. Single-title books stay on bookstore shelves based on the store’s choice.

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

Romance novels do not have strict rules about the types of stories, time periods, or places they can include. This has allowed the genre to include many different kinds of stories and create many subgenres. Some romance books can also be part of other genres, like mystery, science fiction, or fantasy. For example, romantic suspense novels often share similarities with mystery and thriller stories. Paranormal romances include elements from science fiction and fantasy novels.

Contemporary romance, which takes place after World War II, is often what people think of when they mention romance novels. These are the most common type of romance novels and are set in the time when they are written. They usually reflect the customs of that time. Before 1970, heroines in contemporary romances often left their jobs after marriage or having children. After 1970, heroines usually kept their careers. As these novels became more complex and realistic, the line between contemporary romance and women's fiction has become less clear.

Most contemporary romance novels include details that make them seem old-fashioned. Over time, many become outdated and are no longer printed. However, some, like the works of Jane Austen, are so well-written that they are now considered historical romances.

In 2004, more than half of all romantic fiction published in the United States (1,468 out of 2,285 books) were contemporary romance novels. These books have been chosen twice by Kelly Ripa for her book club, "Reading with Ripa."

Historical romance, also called a historical novel, is a type of fiction where the story takes place in the past. This genre was popularized in the early 1800s by Walter Scott, who wrote books like Rob Roy and Ivanhoe. This subgenre includes many types of stories, such as Regency romance. Most historical romance novels are published as inexpensive paperbacks, with fewer than 15 released in hardcover each year. This is less than one-fifth the number of contemporary romance novels published in hardcover. Because historical romances are often sold as paperbacks, they are affected by trends in mass-market publishing. Some stores now prefer trade paperbacks or hardcovers, which limits where historical romances can be sold.

In 2001, 778 historical romance novels were published, the highest number in a decade. By 2004, the number had dropped to 486, which was still 20% of all romance novels published. Publishers like Kensington Books report receiving fewer submissions for historical romance novels, and some authors have shifted to writing contemporary romance instead.

Romantic suspense novels involve a mystery or problem that the main characters must solve. Usually, the heroine is a victim of a crime or danger and works with a hero who has a job that helps protect others, like a police officer or soldier. By the end of the story, the mystery is solved, and the relationship between the hero and heroine becomes strong. These novels are often set in modern times, but some authors, like Amanda Quick, include historical settings.

Like all romance novels, romantic suspense stories must focus on the relationship between the main characters. This relationship should influence their decisions and increase the tension of the mystery, which moves the story forward. The mystery should also affect the relationship. These novels often use less emotional or intimate language than traditional romances and are more focused on the plot than the characters.

Mary Stewart, who wrote ten romantic suspense novels between 1955 and 1967, is known for blending romance and mystery perfectly. She combined a full mystery with a focus on the romance between two people. In her stories, solving the mystery helps reveal the hero’s personality, making the heroine fall in love with him.

Paranormal romance mixes real-life elements with fantasy or science fiction. These stories may take place in a world with vampires, werewolves, or other supernatural beings, or they may involve humans with special powers like telepathy or witchcraft. Time travel, futuristic, or space-based romances also fall into this category. These novels often mix elements from other genres, like suspense or chick lit, with their fantasy themes. Some are set entirely in the past, like historical romances, while others are set in the future or involve time travel. Between 2002 and 2004, the number of paranormal romance novels published in the United States doubled to 170 per year. A popular book in this genre can sell over 500,000 copies.

Many paranormal romances take place in modern-day America, where supernatural beings may or may not be known to the public. Some focus more on the romance than on the details of their fantasy worlds, while others create detailed magical systems and cultures.

Science fiction romance is a mix of three genres: science fiction, fantasy, and romance. These stories explore futuristic or imaginary worlds while also developing a strong relationship between the main characters. The level of romance in these novels can range from very modest to very sensual.

Over time, publishers have included futuristic, fantasy, and science fiction romance in their contemporary series, such as Harlequin Temptation or Harlequin Superromance. The first science fiction romance marketed by a major publisher was Sweet Starfire by Jayne Ann Krentz in 1986. This book was a "classic road trip romance" set in a different galaxy. This genre has grown in popularity since 2000. Krentz says the popularity of science fiction romance comes from the fact that these stories are like historical romances but set on other worlds.

Science fiction overlaps with other genres, like steampunk, which mixes science fiction with alternate history set in the Victorian era. This genre includes technology and historical elements, as seen in the TV

Tropes

A trope is a common theme or story element that appears often in books. In romance novels, tropes are used to create parts of the story that readers enjoy. Tropes, which are about the plot, are sometimes confused with "hooks," which are details about characters or settings that interest readers, such as jobs, places, seasons, or personality traits.

India Holton explains that while tropes may seem overused, they help readers feel connected because they reflect shared experiences and familiar character types. Tropes allow writers to attract readers by offering familiar ideas. Writers can also use tropes as a starting point to create new and unique stories, or they can change them in unexpected ways. Many tropes appear in romance novels, and some of the most common ones include:

• Love Triangle: Two people are trying to win the love of a third person.
• Friends to Lovers: People who have been friends 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 is a type of this trope.
• Enemies to Lovers: People who dislike each other learn to overcome their differences and fall in love.
• Forbidden Love: A relationship between characters is not allowed or considered wrong, but they still fall in love. Workplace Romances and other character or relationship details are often part of this trope.
• Second Chance: Characters who were once in a relationship 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, and the type of content included, is important for readers. Readers, reviewers, and publishers often describe this content using terms like “spice,” “steam,” or “heat.” Whether content is considered explicit depends on factors such as how much sexual activity is shown, the kind of details included, and how clearly they are described.

Some publishers or authors assign content ratings to their books using their own rules. It is sometimes debated whether explicit content ratings should appear in library catalogs. The American Library Association believes that labeling books with explicit content ratings is a form of censorship. The organization also argues that such labels suggest all books in a library’s collection have been reviewed for explicit material. However, some libraries choose to add tags for explicit content in their catalogs. These tags help library staff assist patrons but may be harder for general users to find.

Markets

The romance fiction market was not affected by the economic recession in 1982. Readers spent up to $40 a month on romance novels that year. Paperback romances sold $300 million total, and the audience was estimated at 20 million people. A survey of 600 regular readers found that they were similar to the general population in age, education, marriage status, and income. Over half of the women surveyed had some college education, and 40% worked full-time. Sixty percent of the women read at least one romance every two days. They said they read romances to reduce stress, escape mentally, and learn about history and new jobs.

In 1982, at least 25% of all paperbacks were romance novels. By 1991, romance novels made up 46% of all mass-market paperbacks sold in the United States. This growth was partly due to readers who bought many books. Over half of Harlequin’s customers bought 30 novels per month. By 1991, the romance audience had become more educated, with 45% having a college degree, and more than half worked outside the home.

By the 2000s, romance became the most popular genre in modern literature. In 2008, romantic fiction generated $1.37 billion in sales, with 7,311 romance novels published. Romance novels made 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 identified as male, and romance readers were more likely to be married or living with a partner. Eighty-four percent 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 books with covers that had no images or illustrations. This was meant to create a kind of inside joke or shared understanding between readers.

In 2008, 74.8 million people read an English-language romance novel. Harlequin sells more than 4 books every second, with half sold internationally. Author Heather Graham said emotions are easy to translate. 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, over 12 million romance novels are sold each year, and all are translations. Almost all Harlequin novels sold in Italy are also translations. Some German publishers do not allow their romance authors to use their real names, fearing readers might not buy a romance novel without an American pseudonym.

Romance fiction based on Anglo-Saxon culture sometimes does not sell well in European markets. Italy is the strongest foreign market for chick lit books sold by Red Dress Ink, but romance readers in Italy do not like stories about cowboys, as this job was uncommon in their culture. Paranormal romance is not popular in Poland and Russia, but historical romance is very successful there. 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. Other German translators may remove or censor love scenes.

In 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 each year by the Romance Writers of America to the best romance novels.

Another well-known award is the Romantic Novel of the Year Award (RoNA), which is given by the Romantic Novelists' Association. This award is divided into categories:

• Contemporary Romance
• Historical Romance
• Romantic Comedy
• Fantasy Romance
• Romantic Thriller
• Romantic Saga
• Short Romantic Novel
• Debut Romance Novel