A romance or romantic novel is a type of story that focuses on the love between two people, usually ending with a happy or hopeful conclusion. Important authors who helped shape this genre include Samuel Richardson, Frances Burney, Maria Edgeworth, Jane Austen, Charlotte Brontë, Emily Brontë, and Anne Brontë.

Romance novels include many types, such as bodice ripper, fantasy, contemporary, historical romance, paranormal fiction, sapphic, and science fiction. These stories often 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 showed 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 mass-market 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 elements and stereotypes, some of which have been removed from newer editions.

Strong sales of romance novels have made the genre one of the largest parts of the global book market. The genre grew greatly in the 1980s, with more subcategories and single-title romances. Authors also began creating more modern characters and exploring new story ideas.

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 main conflict and the climax of the story must connect to this central theme of developing a romantic relationship. However, the story can also include other plots that do not involve the main characters’ love story. Additionally, a romance novel must end with a "happy and satisfying conclusion."

Leslie Gelbman, who was a president of Berkley Books, said that the genre must place the "romantic relationship between the hero and the heroine at the center of the book." In general, romance novels show good characters being rewarded and bad characters being punished. A couple who works to save their relationship is often shown receiving love and happiness. Bestselling author Nora Roberts said that romance books are about celebrating love, emotions, and commitment—things people value.

Most romance novels follow these rules, but some books considered romance novels may not. The Romance Writers of America define romance novels as stories that focus on a growing romantic relationship and end happily. Escapism is important in the genre. An Avon executive said, "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 categorize books.

There is debate 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 certain themes like infidelity. Others disagree about the need for a happy ending. Some readers say stories without happy endings, as long as the focus is on the love between two main characters, can still be considered romance novels. Examples include Romeo and Juliet.

Romance novels can take place in any time period or location. In recent years, they have even included space settings. There are no strict rules about what can or cannot be included in a romance novel. Topics such as date rape, domestic violence, addiction, and disability are sometimes addressed. The setting, time period, and plot help classify a novel into a subgenre. Despite this variety, some people say all romance novels feel similar. Some believe all romance novels are like those written by Danielle Steel, which feature wealthy characters in exotic places. However, many readers disagree, saying Steel’s books are more mainstream fiction.

Mass-market or formulaic romance novels are sometimes called "smut" or female pornography, and are the most popular form of modern erotica for women. Some romance novels include more explicit content, while others only show characters kissing. The genre includes stories across this range. Because 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 books explore same-sex relationships. These books are sometimes labeled F/F (female/female) or M/M (male/male) in the publishing industry.

While most romance novels end with happiness, 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

Romance novels, which are stories about love, existed in ancient Greece. Over twenty ancient Greek romance novels are known, but most have only survived in incomplete or broken forms. Only 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 early love story called Pamela, or Virtue Rewarded by Samuel Richardson, published in 1740, is considered a precursor to modern popular love novels. Pamela was the first popular novel to tell a love story from the heroine’s point of view. Unlike many other novels of the time, Pamela had a happy ending. After Mr. B tries to seduce and harm Pamela multiple times, he eventually proposes marriage to her in a fair and respectful way. The book became very popular, with five editions printed in the first eleven months. Richardson originally wrote Pamela as a collection of letters with a moral purpose. He turned the letters into a story to both teach lessons and entertain readers. Pamela also acted as a guide for proper social and family behavior, offering a morally focused alternative 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, further shaped the romance genre with her novel Pride and Prejudice (1813), which many call "the best romance novel ever written." During the early Victorian era, the Brontë sisters, like Edgeworth and Austen, wrote literary fiction that influenced later popular stories. Maria Edgeworth introduced the idea of an orphaned heroine in her works, and Charlotte Brontë later used this idea in Jane Eyre (1847). Jane Eyre includes elements from gothic novels and Elizabethan plays, showing how flexible the romance novel form can be.

While literary romance novels continued to develop in the 20th century, a new type of romance novel 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 his forceful actions. This novel was one of the first modern works to introduce the theme of a rape fantasy, which also appeared 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, which Walter Scott helped develop in the early 19th century, began in 1921 with Georgette Heyer’s novel The Black Moth. This book is set in 1751, but Heyer’s other works are inspired by Jane Austen and are set in the Regency period, around the time Austen lived. Heyer included detailed historical information in her novels to help readers understand the time period. Unlike other romance novels of the time, Heyer used the setting as an important part of the story. Her characters often have modern attitudes, and more traditional characters 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 involve a love story between a talented young woman and a handsome scholar. Examples include Ping Shan Leng Yan, Haoqiu zhuan, and Iu-Kiao-Li. These novels were influenced by older works like Yingying’s Biography and The Tale of Li Wa, as well as plays from the Song and Yuan dynasties. These novels were most popular during the 17th century, when many were sold and shared widely.

The widespread popularity of caizi jiaren novels was mocked 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 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, the company sold the 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’s founder, and her daughter Judy Burgess decided which Mills & Boon novels to reprint. They had a "decency code" and rejected more sexually explicit material. Richard Bonneycastle, Harlequin’s founder, later read a more explicit romance novel and found it popular. Harlequin tested the novel and discovered it sold better than a less explicit one. The novels were short and followed a set pattern, featuring heroines who were kind, pure, and innocent. Heroines who worked usually had traditional jobs like nurses, governesses, or secretaries. Romantic scenes in the novels never went beyond a chaste kiss between the main characters.

On October 1, 1971, Harlequin bought Mills & Boon. By then, romance novels were already popular in Great Britain. Harlequin tried to copy Mills & Boon’s success in North America by improving their distribution and marketing. They sold books "where the women are," including in supermarkets and other stores. All Harlequin books were exactly 192 pages long. The company also started a reader service, offering books directly to readers who agreed to buy a certain number each month.

In American literature, some romance novels included themes like rape fantasy, questionable consent, age gaps, underage women, and forceful relationships. These themes became more common as competition decreased due to media censorship laws, similar to those affecting comic books under the Comics Code Authority.

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.

Philosopher Arthur Schopenhauer believed that romance novels have been written for many years because the theme of love is always important. He argued that love affects the survival of the human species, as choosing a partner is often necessary for having children and continuing future generations.

Even though romance novels have been combined with other genres and gained more respect in recent years, some people still view them negatively. This stigma sometimes makes readers feel embarrassed to admit they enjoy the books. Some critics argue that romance novels lack suspense, as the happy ending between the main characters often seems predictable. Others question whether it is helpful for women to spend time reading stories that focus on idealized love. Fiction writer Melissa Pritchard stated that romance novels might encourage the idea that perfect love exists, which could distract readers from learning to love themselves.

Some romance novelists explain that the negative view of the genre comes from the belief that it is "written almost exclusively by women for women." Author Jennifer Crusie said that modern romance novels show women being rewarded with unconditional love only when they stay true to themselves. Author Susan Elizabeth Phillips noted that romance novels are popular because the female main character often overcomes challenges and becomes a strong, independent person.

In recent decades, more research by experts has focused on romance novels, especially from the perspectives of feminism, gender studies, and equality. The popularity of the genre has also grown because of the success of adaptations of two well-known book series: Outlander by Diana Gabaldon and Bridgerton by Julia Quinn. These adaptations were produced by the television network STARZ and the streaming service Netflix. In 2022, it was announced that the best-selling "cult" series Winston Brother by self-published author 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 if they go beyond it by mixing with other genres. This debate has received attention in the media, partly because Diana Gabaldon often says her Outlander series is not romance fiction. However, both research by scholars and conversations between Gabaldon and her publisher suggest that the topic of genre labels is more complex than it appears.

Formats

Romance novels are divided into two 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.

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 worldwide and remain on bookstore shelves until they are sold or until new books in the same line replace them. Writers for publishers like Harlequin/Mills & Boon may have 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. Subplots and small characters are removed or moved to the background. However, each category line has its own unique style, which may include similar settings, characters, time periods, levels of romance, or types of problems. Publishers provide guidelines for each line, explaining what is needed for a book to fit in that line. Publishers may start new lines or stop old ones based on what readers want. Recently, new lines for erotic and Christian romances have been added, while some 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 them over a short time for sales and publicity, but on average, authors write 1.5 books a year and publish one each year. These books stay on bookstore shelves as long as the store decides.

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 often have 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

Romance novels can include many different types of stories, settings, and time periods because their definition does not limit these elements. This has led to the creation of many subgenres within the romance genre. Some romance books can also be classified as part of other genres, such as mystery, suspense, or fantasy. For example, romantic suspense novels often share similarities with mystery and thriller books, while paranormal romances include elements from science fiction and fantasy novels.

Contemporary romance, which is set after World War II, is often what people think of when they mention romance novels. Contemporary romance is the largest subgenre and is usually set in the time when the book is written. It often reflects the values of that time. Before 1970, heroines in these books often left their jobs after marriage or having children, but after 1970, heroines usually kept their careers. 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 of these books eventually become outdated and are no longer in print. However, some, like the works of Jane Austen, are so well-written that they are reclassified as historical romances.

In 2004, over half of the 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 Reading with Ripa book club.

Historical romance, also called a historical novel, is a type of fiction where the story takes place in the past. This subgenre was popularized by Walter Scott in the early 19th century with books like Rob Roy and Ivanhoe. It includes many other subgenres, such as Regency romance. Most mass-market historical romance novels are not published in hardcover, with fewer than 15 released each year. This is less than one-fifth the number of contemporary romance novels published in hardcover. Because historical romances are mostly published in mass-market format, their popularity is tied to trends in mass-market publishing. Retailers now prefer trade paperbacks or hardcovers, which makes it harder for historical romances to be sold in some stores.

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 romances, and many authors who previously wrote historical novels have shifted to contemporary romance.

Romantic suspense novels involve a mystery or intrigue that the main characters must solve. Usually, the heroine is a victim of a crime or attempted crime and works with a hero who has a job that helps protect others, like a police officer or FBI agent. By the end of the book, the mystery is solved, and the relationship between the hero and heroine becomes strong. These novels are often set in the present, but some authors, like Amanda Quick, have included historical settings.

Like all romance novels, romantic suspense novels must focus on the relationship between the main characters. The relationship must influence their decisions and increase the tension in the story. At the same time, the mystery must affect the relationship and move the story forward. These novels often use less emotional or intimate language compared to traditional romances. Because the mystery is central to the plot, these books are more plot-driven than character-driven.

Mary Stewart, who wrote ten romantic suspense novels between 1955 and 1967, was one of the first authors to combine romance and mystery seamlessly. Her stories helped reveal the hero’s personality, making it easier for the heroine to fall in love with him.

Paranormal romance mixes real-life situations with magical or science fiction elements. These stories may take place in an alternate version of our world with supernatural beings like vampires or witches, or they may involve psychic powers, ghosts, or time travel. Some paranormal romances are set in the past, like historical novels, while others are set in the future or on other planets. 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 modern American life with supernatural beings. Sometimes the world is aware of these beings, and sometimes it is not. Some stories focus more on the romance than on the details of the alternate world, while others carefully build the magical systems and cultures of their settings.

Science fiction romance is a mix of three genres: science fiction, fantasy, and romance. These books explore alternate worlds while telling a complete romance story. The level of sensuality in these novels can range from very modest to very romantic.

Over the years, publishers have included futuristic, fantasy, and science fiction romances in their contemporary series (such as Harlequin Temptation). The first futuristic romance published by a mainstream romance publisher was Sweet Starfire by Jayne Ann Krentz in 1986. This book was a classic road trip romance set on another galaxy. This genre has grown in popularity since 2000. Krentz says these books are like historical romances that happen to take place on other worlds.

Science fiction overlaps with other subgenres, such as steampunk, which mixes science fiction with alternate history set during the Victorian era. This subgenre includes historical elements with technology, as seen in the

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 relate to the plot, are sometimes mixed up with "hooks," which are character or setting details that interest readers, such as a character's job, where the story takes place, or a character's personality.

According to India Holton, tropes may seem overused, but they help readers feel connected because they show "universal experiences and archetypes." They allow romance writers to attract readers by giving them something they recognize. Tropes can also be a starting point for new ideas, and authors can change them in creative ways. Many tropes appear in romance novels, and some of the most common ones include:

• 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 begin a romantic relationship.
• Forced Proximity: Characters are required to spend a lot of time together, leading them to fall in love. Arranged Marriage is a type 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 taboo, but it happens anyway. 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 reunite and try again.
• 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 explicit depends on the amount of sexual material in a story, the kind of material, and how detailed the descriptions are.

Some publishers or authors use content ratings to describe their books, based on their own rules. It causes disagreement when explicit content ratings appear in library catalogs. The American Library Association believes that labeling content is a form of censorship and that such labels suggest all books in a catalog have been reviewed. However, some libraries use labels for this type of content in their catalogs. These labels 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, as readers spent up to $40 a month on romance novels. That year, paperback romance novels generated $300 million in sales, and the audience was estimated to include 20 million people. A survey of 600 regular romance readers found that they had similar ages, education levels, and social and economic backgrounds 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 readers said they read romances to reduce stress, escape mentally, and learn about history and new careers.

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 due to readers who bought many books, with over half of Harlequin’s customers purchasing 30 novels each month. By this time, the romance novel audience had become more educated, with 45% having college degrees, and more than half worked outside the home.

By the 2000s, romance novels 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 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 all Americans, 24.6% read at least one romance novel in 2008.

In 2024, a company named 831 Stories began publishing romance novels with covers that had no images or illustrations. This approach created a way for readers to recognize each other through shared understanding.

In 2008, 74.8 million people read an English-language romance novel. Harlequin sells more than 4 books every second, with half of those sold internationally. Author Heather Graham said this success 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 come from Great Britain or North America. In France, where over 12 million romance novels are sold each year, all of them are translations. Similarly, almost all Harlequin novels sold in Italy are translations. Some German publishing companies do not allow their romance authors to use their real names, fearing readers might not buy a romance novel without an American-sounding pseudonym.

The perspective of stories from Anglo-Saxon cultures sometimes struggles in European markets. In Italy, the strongest market for chick lit books from Red Dress Ink, romance readers are not interested in stories about cowboys, as this type of job is uncommon 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 romance novels featuring 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 mild stories. Other German translators remove or censor these scenes.

In 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 novel 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 recognize the best romance novels.

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