Romance novel  

From The Art and Popular Culture Encyclopedia

Revision as of 19:06, 29 September 2007

Related e

Wikipedia Wiktionary Shop Featured: Rhombicuboctahedron by Leonardo da Vinci

A romance novel is a literary genre developed in Western culture, mainly in English-speaking countries. To be considered a part of the romance genre, a novel should place its primary focus on the relationship and romantic love between two people, and must have an "emotionally satisfying and optimistic ending."

History

Development

Romance novels can also trace their roots back to gothic novels, if not to the idea of the "Roman" itself through the romance (genre), a heroic prose and narrative form of medieval/Renaissance Europe. Ann Radcliffe's gothic novels influenced writers ranging from Jane Austen (who parodied it in her Northanger Abbey), Charles Dickens, and the Brontës.

One of the earliest romance romance novels was Pamela, or Virtue Rewarded, by Samuel Richardson. Published in 1740, Pamela was the first popular novel to be based on a courtship as told from the perspective of the heroine. Unlike many of the novels of the time, Pamela had a happy ending. The book was one of the first bestsellers, with five editions printed in the first eleven months of release. The genre did not fully take form, however, until the nineteenth century.

Jane Austen is widely considered to be one of the masters of the romance novel genre, with Pride and Prejudice, published in 1813, considered "the best romance novel ever written." Critics, however, lamented that Austen's works reinforced the sexist stereotype that women must marry. The Brontë sisters built upon Austen's work with their novels. Charlotte Brontë's Jane Eyre, published in 1847, introduced the orphaned heroine. Incorporating elements of both gothic novels and Elizabethan drama, Jane Eyre "demonstrate[d] the flexibility of the romance novel form."

The genre continued to be popular into the twentieth century. In 1919, E.M. Hull's novel The Sheik was published in the United Kingdom. The novel, which became hugely popular, was adapted into a movie, which established star Rudolf Valentino as the top male actor of the time. The hero of this book was an iconic alpha male who kidnapped the heroine and won her admiration through his forceful actions. The novel was one of the first to introduce the rape fantasy. Although women were gaining more independence in life, publishers believed that readers would only accept premarital sex in the context of rape. In this novel and those that followed, the rape was depicted as more of a fantasy; the heroine is rarely if ever shown experiencing terror, stress, or trauma as a result.

The first historical romances appeared in 1921, when Georgette Heyer began writing romances set during the English Regency period (1811-1820), when the Prince Regent ruled England in place of his ill father, George III. Heyer was inspired by Austen's novels. Although Austen had also written romances set in the Regency period, hers were contemporary novels, describing the times in which she lived. Because Heyer's writing was set in the midst of events that had occurred over 100 years previously, she had to include more detail on the time period in order for her readers to understand. Unlike the other romance novels of the time period, Heyer's novels used the setting as a plot device. Her characters often contained more modern-day sensibilities, and more conventional characters in the novels would point out the heroine's eccentricities, such as wanting to marry for love.

Rise of the category romance

In the 1930s, Mills and Boon began releasing hardback romance novels. The books were sold through weekly two-penny libraries and were known as "the books in brown" for their brown binding. In the 1950s, the company began offering the books for sale through newsagents across the United Kingdom.

A Canadian company, Harlequin Enterprises, Ltd., began distributing in North America in 1957 the category romances published by Mills and Boon. Mary Bonneycastle, wife of Harlequin founder Richard Bonneycastle, and her daughter, Judy Burgess, exercised editorial control over which Mills and Boon novels were reprinted by Harlequin. They had a "decency code" and rejected more sexually explicit material that Mills and Boon submitted for reprinting. Upon realizing that the genre was popular, Richard Bonneycastle finally decided to read a romance novel. He chose on the more explicit novels and enjoyed it. On his orders, the company conducted a market test with the novel he had read and discovered that it outsold a similar, tamer novel. Overall, tnovels were short and formulaic, featuring heroines who were sweet, compassionate, pure and innocent. The few heroines who worked did so in traditional female jobs, including as nurses, governesses and secretaries. Intimacy in the novels never extended beyond a chaste kiss between the protagonists.

On October 1, 1971, Harlequin purchased Mills and Boon. By this point, the romance novel genre "had been popularized and distributed widely to an enthusiastic audience" in Great Britain. In an attempt to duplicate Mills and Boon's success in North America, Harlequin had improved their distribution and marketing system. By choosing to sell their books "where the women are", they allowed many mass-market merchandisers and even supermarkets to sell the books, all of which were exactly 192 pages. Harlequin then began a reader service, selling directly to readers who agreed to purchase a certain number of books each month.

Birth of modern romance

The modern romance genre was born in 1972 with Avon's publication of Kathleen Woodiwiss's The Flame and the Flower, the first romance novel "to [follow] the principals into the bedroom." Aside from its content, the book was revolutionary in that it was one of the first single-title romance novels to be published as an original paperback, rather than being first published in hardcover, and, like the category romances, was distributed in drug stores and other mass-market merchandising outlets. Avon followed its release with the 1974 publication of Woodiwiss's second novel, The Wolf and the Dove and two novels by newcomer Rosemary Rogers. One of Rogers's novels, Dark Fires sold two million copies in its first three months of release, and, by 1975, Publishers Weekly had reported that the "Avon originals" had sold a combined 8 million copies. The following year over 150 historical romance novels, many of them paperback originals, were published, selling over 40 million copies.

The success of these novels prompted a new style of writing romance, concentrating primarily on historical fiction tracking the monogamous relationship between a helpless heroines and the hero who rescued her, even if he had been the one to place her in danger.< The covers of these novels tended to feature scantily clad women being grabbed by the hero, and caused the novels to be referred to as "bodice-rippers." A Wall St. Journal article in 1980 referred to these bodice rippers as "publishing's answer to the Big Mac: They are juicy, cheap, predictable, and devoured in stupifying quantities by legions of loyal fans." The term bodice-ripper is now considered offensive to many in the romance industry.

In this new style of historical romance, heroines were independent and strong-willed and were often paired with heroes who evolved into caring and compassionate men who truly admired the women they loved.<ref>Thurston, p 72.</ref> This was in contrast to the contemporary romances published during this time, which were often characterized by weak females who fell in love with overbearing alpha males. Although these heroines had active roles in the plot, they were "passive in relationships with the heroes." Across the genre, heroines during this time were usually aged 16-21, with the heroes slightly older, usually around 30. The women were virgins, while the men were not, and both members of the couple were described as beautiful.

Category romance adapts

Category romance lines were slower to react to some of the changes that had swept the historical romance subgenre. Despite the fact that the former Mills & Boon lines were now owned by a North American company, the lines did not have any American writers until 1975, when Harlequin purchased a novel by Janet Dailey. Dailey's novels provided the romance genre's "first look at heroines, heroes and courtships that take place in America, with American sensibilities, assumptions, history, and most of all, settings." Harlequin was unsure how the market would react to this new type of romance, and was unwilling to fully embrace it. In the late 1970s, a Harlequin editor rejected a manuscript by Nora Roberts, who has since become the top-selling romance author, because "they already had their American writer."

In 1980, Simon and Schuster formed Silhouette Books to take advantage of the untapped talent of the American writers. They published several lines of category romance, and encouraged their writers to create stronger heroines and less dominant heroes. Authors were also expected to address contemporary issues where appropriate. Silhouette soon saw their market share expand, and in 1984, Harlequin acquired them. Despite the acquisition, Silhouette continued to retain editorial control and to publish various lines under their own imprint.

Harlequin had also failed to adapt quickly to the signs that readers appreciated novels with more explicit sex scenes, and in 1980, several publishers entered the category romance market to fill that gap. That year, Dell launched their Candlelight Ecstasy line with Amii Lorin's The Tawny Gold Man, becoming the first line to waive the requirement that heroines be virgins. By the end of 1983 sales for the Candlelight Ecstasy line totaled $30 million. Silhoeutte also launched similar lines, Desire (sexually explicit) and Special Edition (sexually explicit and longer stories, up to 250 pages), each of which had a 90-100% sellout rate each month.

A 1982 survey of romance readers confirmed that the new styles of writing were attracting new readers to the genre. 35% of the readers surveyed had begun reading romances after 1977. An additional 31% of those surveyed had been readers for between 6 and 10 years, meaning they had become interested in the genre after 1972, when Woodiwiss's revolutionary novel was published. This means that two-thirds of those surveyed joined the genre after it had begun to change.

The number of category romance lines increased at a rapid pace, and by 1985 there were 16 separate lines producing a total of 80 novels per month. The sudden increase in category romance lines meant an equally sudden increase in demand for writers of the new style of romance novel. This tight market caused a proportionate decrease in the quality of the novels that were being released. By 1984, the market was saturated with category lines and readers had begun to complain of redundancy in plots. The following year, the "dampening effect of the high level of redundancy associated with series romances was evident in the decreased number of titles being read per month."<ref>Thurston, p 128.</ref> Harlequin's return rate, which had been less than 25% in 1978, when it was the primary provider of category romance, swelled to 60%.