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. Important authors who helped develop this type of book include Samuel Richardson, Frances Burney, Maria Edgeworth, Jane Austen, Charlotte Brontë, Emily Brontë, and Anne Brontë.

Romance novels can include many different types, such as bodice ripper, fantasy, contemporary, historical romance, paranormal fiction, sapphic, and science fiction. These books may also use common story elements 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 supported by the Romance Writers of America found that men made up 18% of people who bought romance books.

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 sentimental novel Pamela, or Virtue Rewarded (1740) and the works of Jane Austen. Austen inspired Georgette Heyer, a British author who wrote historical romance stories set during Austen’s time and also created detective fiction. Heyer’s first romance novel, The Black Moth (1921), was set in 1751.

The British company Mills & Boon started publishing romance novels for women in the 1930s. Their books were sold in North America by Harlequin Enterprises Ltd, which began directly marketing to readers and allowing stores to sell the books.

An early example of a mass-market romance in the United States was Kathleen E. Woodiwiss’s The Flame and the Flower (1972), published by Avon Books. This was the first single-title romance novel to be released as an original paperback in the U.S. In the UK, the romance genre had long been popular through the works of Georgette Heyer, whose books include many common story elements and stereotypes, some of which have been removed from newer editions.

High sales of popular romance novels have made this one of the biggest parts of the global book market. The genre grew a lot in the 1980s, with more types of romance books and more single-title stories. Authors also began creating more modern characters and exploring new ideas in their stories.

Definition

According to the Romance Writers of America, the main story in a mass-market romance novel should focus on two people who fall in love and work to build a relationship. The conflict and the most important part of the story, called the climax, should relate directly to this theme of developing a romantic relationship. Other stories within the novel may not involve the main characters’ love, but the central theme must remain clear. Additionally, a romance novel must end in a way that feels emotionally satisfying and hopeful.

Leslie Gelbman, a president of Berkley Books, explains that the romantic relationship between the hero and heroine must be the central part of the book. In general, romance novels show kind characters being rewarded and unkind characters facing consequences. A couple who works hard to save their relationship is often shown receiving love without conditions. Bestselling author Nora Roberts says romance novels celebrate love, emotions, and commitment—things people value.

Most romance novels follow strict rules, but some books widely considered romance novels do not always follow these rules. The Romance Writers of America define romance novels as stories that focus on a growing romantic relationship and end with hope. Escapism is important in the genre, as an Avon executive noted: “In romances, the phone never rings, the baby never cries, and the rent is never overdue.” Many publishers, libraries, bookstores, and critics still use the traditional definition to classify books.

There is disagreement among romance authors about what should and should not 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 certain themes, like infidelity. Others debate the need for a happy ending, with some readers accepting stories that end unhappily if the focus is on the love between the main characters, such as Romeo and Juliet.

Romance novels can take place in any time period or location, including space. There are no strict limits on what can be included in a romance novel, even controversial topics like date rape, domestic violence, addiction, and disability. The setting, time, and story details help a novel fit into one of several romance subgenres. Despite the variety of options, some people say all romance novels feel similar. Some people think all romance novels are like those written by Danielle Steel, featuring wealthy characters in exotic places. However, 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, and are the most popular type of modern erotica for women. While some romance novels include more explicit descriptions of romantic acts, others only show characters kissing. The genre includes stories across this range. Since women buy 90% of all romance novels, most are written from a woman’s perspective, using either first or third person.

Although most romance novels focus on heterosexual relationships, some explore same-sex relationships. Books with same-sex themes are sometimes labeled as F/F (female/female) or M/M (male/male) in the publishing 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

The genre of long stories about romantic love existed in ancient Greece. Over twenty ancient Greek romance novels are known, but most are only partly preserved. Five of these novels have survived nearly completely: Chareas and Callirhoe, Leucippe and Clitophon, Daphnis and Chloe, The Ephesian Tale, and The Ethiopian Tale.

A type of love story that resembles modern popular romances can be found in Pamela, or Virtue Rewarded, a book written by Samuel Richardson in 1740. Pamela was the first popular novel to tell a love story from the perspective of a young woman. Unlike many books of that time, Pamela ended with a happy outcome. After a man named Mr. B tries to force Pamela into a relationship, he eventually proposes marriage to her in a fair and respectful way. The book became very popular, with five editions printed within the first eleven months of its release. Richardson originally wrote Pamela as a collection of letters. He agreed to write it only if the letters taught moral lessons. 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 creating a story that provided a morally focused option for young readers.

Maria Edgeworth, a romance novelist, influenced writers during the Victorian era with works like Belinda (1801) and Helen (1834). Jane Austen, who admired Edgeworth, also shaped the romance genre with her book Pride and Prejudice (1813), which was later called "the best romance novel ever written." In 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 books Belinda and Helen. Charlotte Brontë later used this idea in Jane Eyre (1847). Brontë’s story includes elements from gothic novels and Elizabethan plays, showing how the romance genre could change and adapt.

While literary romance stories continued to develop in the 20th century, a new type of fiction began to grow in popularity after World War I. In 1919, E. M. Hull wrote The Sheik, a book about a powerful man who kidnaps a woman and wins her admiration through force. This novel was one of the first to include the theme of rape fantasy, a concept also found in Pamela by Samuel Richardson. At the time, publishers believed readers would only accept premarital sex if it was shown as a fantasy, not as something harmful. In these stories, the heroine rarely shows fear or pain.

The popular version of historical romance, which began with Walter Scott in the early 19th century, became more common in 1921 when Georgette Heyer published The Black Moth. This book is set in 1751, but Heyer’s stories often take place during the Regency period, the time Jane Austen lived. Heyer included detailed historical facts to help readers understand the setting. Her characters often have modern attitudes, and other characters in the story notice the heroine’s unusual behavior, such as wanting to marry for love. Heyer wrote one to two romance novels each year until her death in 1974.

During the Ming and Qing dynasties in China, a type of printed romance novel called caizi jiaren ("scholar and beauty") became widely popular. These stories usually involve a love relationship between a talented young woman and a handsome scholar. Examples 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 novels were influenced by older Chinese stories like Yingying's Biography and The Tale of Li Wa, as well as plays from the Song and Yuan dynasties. These stories were most popular in the late Ming and early Qing periods, around the 17th century.

The large number of caizi jiaren novels was humorously criticized in The Dream of the Red Chamber by Cao Xueqin, who wrote: "There are thousands of these 'scholar and beauty' books, and they are all the same!" These Chinese romance stories also had a lasting influence on both Eastern and Western literature.

In the 1930s, British publishers Mills & Boon began selling hardcover romance novels. These books were sold in libraries and were called "the books in brown" because of their brown covers. In the 1950s, the company started selling the books in newsstands across the United Kingdom.

In 1957, a Canadian company called Harlequin Enterprises began selling Mills & Boon romance novels in North America. Mary Bonneycastle, wife of Harlequin’s founder, and her daughter Judy Burgess chose which books to reprint. They followed a "decency code" and rejected books with explicit content. Richard Bonneycastle, Harlequin’s founder, later read a more explicit romance novel and found it popular. Harlequin then tested the book against a similar, less explicit one and found the more explicit version sold better. These novels were short, followed a predictable pattern, and featured heroines who were kind, pure, and innocent. Heroines who worked often had traditional jobs like nurses or secretaries. Romantic scenes in the books never went beyond a chaste kiss between the main characters.

On October 1, 1971, Harlequin bought Mills & Boon. By this time, romance novels were already widely popular in Great Britain. To copy Mills & Boon’s success in North America, Harlequin improved its distribution and marketing. They sold books in places where women shopped, such as supermarkets, and made sure all books were exactly 192 pages long. Harlequin also started a reader service, offering books directly to customers who agreed to buy a certain number each month.

In American literature, some romance novels included themes like rape fantasy, unclear consent, age differences, underage women, and forced relationships. These themes appeared as a response to competition decreasing due to media censorship laws, similar to those in the comic book industry.

Critical reception

Some important writers have received praise for their romance novels. For example, 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 remained popular for many years because the theme of love is always important. He argued that love affects the survival of the human species, as relationships and choosing a partner are necessary for having children and continuing future generations.

Even though romance novels have become more accepted and combined with other genres, some people still view them negatively. Some readers feel ashamed to admit they enjoy these books. Critics sometimes say romance novels lack suspense because the happy ending between the hero and heroine often seems predictable. Some critics question whether it is helpful for women to spend time reading stories that focus on idealized love. Fiction writer Melissa Pritchard said that romance novels may support the idea that perfect love exists, which could distract readers from learning to love themselves.

Romance novelists explain that the negative view of the genre comes partly from the belief that it 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 heroine often overcomes challenges and becomes strong, no longer a victim.

In recent years, more studies by experts have focused on romance novels, especially from the perspectives of feminism, gender, and equality. The popularity of the genre has grown due to the success of book adaptations, such as Outlander by Diana Gabaldon and Bridgerton by Julia Quinn, which were made into television shows by STARZ and Netflix. In 2022, it was announced that the best-selling Winston Brother series by Penny Reid, a self-published author, has been chosen for a television adaptation by Tomorrow Studios.

There is ongoing debate about whether some novels belong to the romance genre or if they mix with other genres. This discussion has received attention in the media, partly because Diana Gabaldon often says her Outlander series is not romance fiction. However, both expert studies and conversations between Gabaldon and her publisher show that the topic of genre labels is more complex than it seems.

Formats

Romance novels are divided into two types: category romances, also called series romances, and single-title romances. Many authors write only one type, but some, like Jennifer Crusie and Jayne Ann Krentz, have written successfully in both formats.

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 in each line. Often, the books in a line are numbered in order. These novels are sold worldwide and remain on bookstore shelves until they are sold or until new books from the same line replace them. Writers for Harlequin/Mills & Boon, a publisher of category romances, may have their books translated into 26 languages and sold in over 100 countries.

To write a successful category romance, authors must focus on the main parts of the story. Subplots and minor characters are removed or only mentioned briefly. However, each category line has its own 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 may start new lines or stop existing ones based on market trends and reader preferences. Recently, publishers have added lines for erotic and Christian romances while ending some traditional Regency romance lines.

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

Although 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 often share similar 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

The definition of a romance novel does not limit the types of stories, time periods, or places that can be included. This has allowed the genre to grow and include many different kinds of stories and subgenres. Romance subgenres often share similarities with other types of books. For example, romantic suspense novels are similar to mystery, crime, and thriller books. Paranormal romances use elements from science fiction and fantasy stories.

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

Most contemporary romance novels include details that make them seem old-fashioned. Many become outdated and are no longer published. Those that remain popular over time, like Jane Austen's books, are often reclassified as 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 happens in the past. This subgenre was popularized in the early 19th century by Walter Scott, who wrote books like Rob Roy and Ivanhoe. It includes many other subgenres, such as Regency romance. Most historical romance novels are published in mass-market format, not hardcover. Fewer than 15 are published in hardcover each year, compared to twice as many contemporary romance novels. Because they are often published in mass-market format, their popularity depends partly on trends in mass-market publishing. Retailers now prefer trade paperbacks or hardcovers, which limits where historical romances can be sold.

In 2001, 778 mass-market historical romances were published, the highest number in a decade. By 2004, this number dropped to 486, which was still 20% of all romance novels published. Kensington Books reports receiving fewer submissions for historical novels and that some authors have switched to writing contemporary romances.

Romantic suspense novels involve a mystery or problem for the main characters to solve. Usually, the heroine is a victim of a crime or an attempted crime and works with a hero who has a job that helps protect her, such as a police officer, FBI agent, bodyguard, or Navy SEAL. 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 the present, but some include historical settings. Like all romance novels, the relationship between the main characters must drive the story. The mystery must also affect their relationship and move the plot forward. Romantic suspense novels often use less emotional or intimate language than traditional romances and focus more on solving the mystery.

Mary Stewart helped combine romance and mystery in her novels, which she wrote between 1955 and 1967. Her stories showed how solving a mystery could help the heroine understand the hero better.

Paranormal romance mixes real life with magical or science fiction elements. These can include stories about vampires, werewolves, or ghosts in an alternate version of the real world. Other stories might involve psychic powers, witches, or time travel. Some paranormal romances are set in the past, like historical romances. Others take place in the future or involve time travel. Between 2002 and 2004, the number of paranormal romances published in the U.S. doubled to 170 per year. A popular book in this genre can sell over 500,000 copies.

Many paranormal romances include supernatural beings in modern settings. Sometimes the world around them knows about these beings, and sometimes it does not. Some stories focus more on the romance than on the details of the magical world, while others create complex magical systems and cultures.

Science fiction romance combines three genres: science fiction, fantasy, and romance. These books explore futuristic or imaginary worlds while telling a complete love story. The level of romantic or sexual content in these novels varies from very modest to very sensual.

Many publishers include futuristic, fantasy, and science fiction romances in their contemporary series, such as Harlequin Temptation or Silhouette Special Edition. The first futuristic romance published by a mainstream publisher was Sweet Starfire by Jayne Ann Krentz in 1986. This book was a "classic road trip romance" set in a different galaxy. Since 2000, this genre has become more popular. Krentz says these books are like historical romances that happen on other planets.

Science fiction overlaps with other subgenres, like steampunk, which mixes science fiction with alternate history set in the Victorian era. Examples include the TV show The Wild Wild West (1965–1969). Authors in this subgenre include M. K. Hobson and Gail Dayton.

Fantasy romance, also called romantic fantasy, is a type of fantasy fiction that includes elements of romance. These books are published by both fantasy and romance publishers. Some publishers separate "fantasy romance" (which is more like a fantasy story with romantic elements) from "romantic fantasy" (which focuses more on the romance).

Time-travel romances are a version of the classic "fish out of water" story, where characters move between different time periods.

Tropes

A trope is a common theme or story element that appears often in books. In romance novels, tropes are used frequently because readers enjoy recognizing familiar parts of a story. Tropes, which relate to the story’s events, are sometimes confused with "hooks," which are details about characters or settings that interest readers, such as a character’s job, where a story takes place, or a character’s personality.

According to India Holton, tropes may seem overused, but they help readers feel connected because they reflect common experiences and familiar character types. Tropes allow writers to attract readers by giving them something they recognize. Writers can also use tropes as a starting point for creating new ideas or intentionally change them to surprise readers. Many tropes appear in romance novels, and some of the most common ones are:

• Love Triangle: Two characters try to win the love of a third person.
• Friends to Lovers: Two people who are close friends develop a romantic relationship.
• Forced Proximity: Characters are placed in situations where they must spend a lot of time together, leading them to fall in love. Arranged Marriage, a type of romance story, is a form of this trope.
• 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 unacceptable, yet it happens anyway. Workplace Romances and other story elements involving characters’ roles or relationships are often part of this trope.
• Second Chance: Characters who were once in a relationship break up but later reunite.
• 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, as well as the type of content, is important to readers. Readers, reviewers, and publishers often describe this content using terms like “spice,” “steam,” or “heat.” Whether content is explicit depends on how much sexual material is included, the kind of content, and how detailed the descriptions are.

Some publishers and authors use their own rules to assign content ratings to their books. It is sometimes controversial to include explicit content ratings in library catalogs. The American Library Association believes that labeling content is a form of censorship and that such labels suggest someone has reviewed all the books in the catalog. However, some libraries use tags to describe explicit content in their catalogs. These tags mainly help library staff assist patrons and may be harder (but not impossible) for general users to find.

Markets

The romance fiction market remained unaffected by the economic recession in 1982, as loyal readers spent up to $40 each month on romance novels. That year, sales of paperback romance novels reached $300 million, with an estimated 20 million readers. A survey of 600 regular romance readers showed that they had similar ages, education levels, and family and job situations as the general population. 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 novel every two days. These women said they read romances to reduce stress, escape mentally, and learn about history and new jobs.

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

By the 2000s, romance fiction became the most popular genre in modern literature. In 2008, romantic fiction generated $1.37 billion in sales, with 7,311 romance novels published. These books 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 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 all Americans, 24.6% read at least one romance novel in 2008.

In 2024, a company named 831 Stories started publishing books with covers that had no images or illustrations. This was meant to create a shared understanding between readers.

In 2008, 74.8 million people read an English-language romance novel. Harlequin sells more than four books every second, with half of those sold internationally. Author Heather Graham said that emotions are easy to understand, which may explain the popularity of romance novels. In the United Kingdom, over 20% of all fiction books sold each year are romance novels.

Romance novels are translated into more than 90 languages, but 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 of them are translations. In Italy, almost all Harlequin novels are also translations. Some German publishers do not allow their romance authors to use their real names, believing readers may not buy romance novels without an American pseudonym.

Stories with an Anglo-Saxon perspective (such as those featuring cowboys) are less successful in some European markets. In Italy, romance readers may not be interested in stories about cowboys, as this job was not common in their culture. The paranormal romance genre is not popular in countries like Poland and Russia, but historical romance is very successful there. Inspirational romance does not sell well in Europe, where stories about babies in romances are more popular. German readers enjoy more erotic romance novels, and some German translators add or expand love scenes in English romance novels. Other translators may remove these scenes.

As of 2014, romance was the most popular literary genre in Russia, chosen by 13% of respondents, especially among younger people.

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 grew by 40–50%. Harlequin received 20,000 unsolicited manuscripts each year and found that women made 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 novels in the romantic fiction category.

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

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