Romance Reimagined: Creating Bold and Transformative Romance Novels

This post mentions themes related to consent, and coercion, including the historical use of problematic tropes. Please proceed with caution if these topics are sensitive for you.

Love and Literature for Modern Readers

What is the first thing you think of when you think of romance novels? A damsel in distress saved by a dashing hero? A swoon-worthy cover featuring a shirtless heartthrob? (Don’t forget the flowing locks!) Or maybe an independent, career-driven woman who, after much resistance, finally falls for the charming guy? And, of course, the story wraps up with a proposal or a wedding, right?

You’re not wrong. Romance has often been portrayed this way, especially in the 1980s and 90s, following the formula established by many Mills & Boon/Harlequin novels. But this is just one version, one possibility for romance, not the whole picture.

Classic '80s romance covers [Source: https://www.campus.sg/beefcakes/]

Romance has often been dismissed or overlooked by “serious” publishers and literary critics. For too long, “good literature” was seen as dark, serious, and usually written by men.

But assuming that good or even great literature must be heavy and depressing is a huge mistake. Romance can be light and fun, but it can also provide insightful reflections on society.

In recent years, the phenomenal success of Rebecca Yarros’s Fourth Wing (2023) and Sara J. Maas’s A Court of Thorns and Roses (2015) has put the category of “romantasy” (romance and fantasy) firmly in the spotlight, not only proving the enduring popularity of the genre, but also showing that it can be as innovative as it is successful.  

In this post, we delve into romance’s backstory to debunk the myth that the genre isn’t “real” literature and that there’s only one way to write it. A deep dive into the history of romance will equip you with knowledge that will be invaluable for you in taking the genre forward into the future. We also offer practical tips to help you avoid accidental patriarchal pitfalls so that your novel can really resonate with today’s savvy romance readers.

The Heartbeat of the Novel

Women writers have always been a part of the novel’s history, and so have stories about falling in love. Overlooking romance’s role in the history of the novel is a big miss by any standards. Novels have always told stories of everyday life and focused on women’s experiences—think of Frances Burney, Jane Austen or the Brontës. 

However, as the novel gained literary purchase, male authors began to dominate… Does that, by any chance, sound familiar…?

It reminds me of the celebrity chef phenomenon. How many celebrity chefs can you name in 30 seconds?

You probably named more men than any other gender… right? Cooking is conventionally seen as women’s work unless it is professionalized. Then it’s men’s work! Just like cooking, novels also shifted towards male authors as they gained prestige.

Happily Ever After…?

Here’s a fun fact: no matter who wrote it, in the early days, most novels followed a romance plot that ended in marriage. Yep, that’s right—it’s called “the marriage plot.”

Samuel Richardson's Pamela (1740), one of the first English novels, was about marriage. [Image Source: Simon and Schuster.]

And it was so important that it even served a significant social function. From the 18th century onwards, romance narratives shaped our view of marriage.

“The stories about marriage told by novelists including Samuel Richardson, Frances Burney, Maria Edgeworth, Jane Austen, Charlotte Brontë, Charles Dickens, George Eliot, and Henry James,” writes Mary-Catherine Harrison, “have had a powerful impact on the cultural and psychological fabric of English-speaking Western societies. It is in part because of these novels that we think of marriage the way that we do.[1]

The Many Faces of Romance

The importance of romance stories in shaping our ideas of marriage does not mean that there was consensus.

Some stories examine marriage and the limitations on women in a patriarchal society, while others do not. Some emphasize female pleasure and consent, while others do not. Romance can offer a counterpoint to or reinforce traditional norms.

Often, writers wrestle with these themes and evolve over their careers. There has never been just one way to be a writer of romance.

Take 19th-century, Irish author Margaret Hungerford (The Duchess), for example. Hungerford, an author you might not have heard of, outsold all the famous male authors of the time that you have heard of. Her professional approach to writing (she wrote for three hours daily) clearly contravenes gendered social norms for the time, but she never pushed the limits with her content. She was “careful not to contravene the boundaries of Victorian femininity even [when] she toys with such New Woman themes as divorce, domestic violence and women’s work” writes Heather Ingman.[2]

The Evolution of Romance in the 1980s and Beyond

Romance novels have been a hit with readers for over a century. By the 1980s, Harlequin in North America and Mills & Boon in the UK had made sure you could pick up a romance novel pretty much anywhere and everywhere!

But the ‘80s was a time of contradiction. It witnessed both advancements in and a backlash against the women’s movement. Curious about the complex relationship between romance and the women’s movement in the 1980s, the academic Janice Radway produced what is still considered the landmark study of romance.

Radway noted that, “while some romance writers are perfectly willing to identify themselves as feminists, […] others vociferously assert that the romance is in fact the proper response to the havoc wrought by feminism on gender relations.”[3] Interestingly, however, she discovered that even when the stories had a patriarchal spin, readers viewed the act of reading romance as radical.

In the 1990s, when women in the workplace was increasingly the norm rather than the exception, we see a shift towards chick lit. This iteration of the genre continued the traditional romance plot but updated it by “stressing its heroines’ sexual and professional independence.”[4]

'90s romance embraced the then popular idea of postfeminism. 

The young professional emphasis reflected the era’s “post-feminism,” which suggested women’s liberation was tied to work and consumer power. However, our understanding has since evolved, and today we seek stories that offer more nuanced and diverse perspectives.

Embracing Innovation in the Modern Era

We’re entering a whole new era of romance! Writers have always used romance to dig deep into social issues, but now these stories are really gaining momentum. Welcome to the new wave of radical romance where innovation is the name of the game, and anything is possible.

Three key factors are driving these changes. First, there’s growing awareness and resistance to sexism and racism among both writers and readers. Second, self-publishing has empowered authors, allowing more diverse stories to reach audiences without traditional publishing gatekeepers. Third, e-readers have made diverse stories more accessible and easier to consume, changing reader habits.

This shift not only allows authors to innovatively play with conventional genre categories, but also creates more space for vibrant, compelling stories that celebrate love and sex in positive, imaginative, and diverse ways. And I, for one, am excited to see where this journey will take us...

But what does that mean for writers? Knowing that you want to write a contemporary romance that connects with today’s readers is an important first step, but what’s next? Fear not. In the next section we talk about practical tips to help you on your way to writing a bold and transformative romance!

Image credit: Ben Rosett

Practical Tips for Avoiding Patriarchal Pitfalls

Smashing the patriarchy while writing a kick-ass romance is no mean feat, but it is eminently doable, and, what’s more, you can be the one to do it! Here are our top tips to guide you on your way…

1.   Consider Consent:

One of the most problematic aspects of romance can be the representation of consent. This was particularly true in the ‘80s when consent was often sketchy at best, but it is still extremely relevant today. Enthusiastic, willing consent means an active yes without force, coercion, persuasion, or manipulation. Or to use Emily Nagoski’s definition: “Everyone is glad to be there and free to leave with no unwanted consequences. Plus, there is no unwanted pain.”[5]

Romance can be a fun, sex positive space where female pleasure is valued, and consent is clearly represented. Think about how safety and consent play out in your characters’ relationships, especially if you’re writing open-door romance. How do your characters practice consent?

Avoid using sexual violence as a plot device that is important only in terms of how it serves the action of the plot or motivates characters. It’s also best to steer clear of the it’s-ok-because-(s)he’s-hot or the absence-of-a-no-means-yes approaches in dating scenarios.

 (You will find a list of resources that discuss consent at the end of this post.)   

2. Love and Happiness are Transformative:

In All About Love, bell hooks reminds us of the transformative effect of love. She writes that the more we see loving families modelled by and represented, the more transformative the effect, until “the visible happiness of functional families will become part of our collective consciousness.”[6] In your book, how you write love and joy can be as creative and imaginative as you like. Ask yourself how different types of love (romantic, familial, social) are understood in your world. How do your characters relate to these ideas? What effect does this have on your worldbuilding and character development?

All about Love (2000) by bell hooks

3. You Don’t Always Have to Put a Ring on It:

When I was a kid, every year all the kids in my extended family would go to the Christmas Pantomime at the Gaitey theatre in Dublin. We went for years! Whatever the play, it was entertaining and fun, and the grand finale was always wedding. Always. While a happy ending is a hallmark of romance, times have changed. A happy ending doesn’t always have to involve a wedding or a proposal. Get creative with how you define a happy ending. Of course, it can be marriage related, but remember you have the freedom to decide.

4. Inclusive Representation:

Your romance doesn’t have to follow heteronormative expectations. Include diverse genders and sexualities but avoid minimal effort diversity by doing your research and developing well-rounded characters. See our guide for crafting gender inclusive worlds for more.

5. Turn Patriarchal Masculinity on Its Head:

Sometimes when we think about challenging restrictive gender roles, we limit our focus. However, all genders are affected by patriarchy in negative ways. Toxic masculinity is toxic for everyone. Challenge traditional depictions of masculinity by offering more diverse, nuanced male characters. Think about how their roles, hobbies, behaviours, and emotional intelligence might challenge patriarchal norms.[7]

Image credit: Sandy Millar

6. Don’t Stick to Traditional Gender Roles:

Equity isn’t limited to workplace roles. Of course, we should be writing stories with female presidents, headteachers, CEOs, admirals, adventurers, and even resistance fighters. But to really make your narrative meaningful, pay attention to who carries the mental load and who performs domestic tasks in your story. What’s the point in writing a strong female lead, if it’s always the responsibility of the female characters around them to cook, clean, and care and never male characters? Making small changes about who is cooking, cleaning, and caring can make a big difference.

7. Continue the Conversation:

There’s a growing conversation around the nuances and joys of romance. Hearing discussions on podcasts like Material Girls, Anne Helen Petersen’s Culture Study, and Hot and Bothered can give you the confidence and courage to write romance your way.

The history of genre illustrates that there has never been just one possibility for romantic storytelling. Yet there has never been a more exciting time to be a writer or reader of romance with readers looking for more nuance and writers pushing the boundaries. From historical bodice rippers to romantasy, romance is ideally poised to provide both meaningful social critic and entertaining escapism and isn’t that the essence of what fiction is all about…  

Ready to write a romance that breaks the mould and speaks to today’s readers? Let’s reimagine the future of romance together, one story at a time. Reach out, and let’s start your journey to creating bold, game-changing love stories!

RESOURCES AND FURTHER READING

If you want to nerd out and research more, here are some places to start…

·For more on consent see: Heather Corinna, “Quickies: Sexual Consent Basics.” Scarlteen. August 2019. Online. HTTP available at: <https://www.scarleteen.com/read/sex-sexuality/quickies/quickies-sexual-consent-basics>. Milena Popova. Sexual Consent. Cambridge MA: MIT Press, 2019. Jaclyn Friedman and Jessica Valenti (eds). Yes Means Yes: Visions of Female Sexual Power and a World Without Rape. Berkeley: Seal Press, 2008. Emily Nagoski. Come As You Are. New York: Simon & Schuster, 2021.

· For more on the complex relationship between feminism and romance from the 1980s see: Janice Radway. Reading the Romance: Women, Patriarchy and Popular Literature. Chapel Hill: U of North Carolina P, 1984.

· For a social history of the marriage plot check out: Mary-Catherine Harrison, “Reading the Marriage Plot,” Journal of Family Theory and Review, vol.6, no.1, 2014.

· For more on contemporary ideas about love and family structure see: Stephanie Coontz. The Way We Never Were: American Families and the Nostalgia Trip. New York: Basic Books/Harper Collins, 1992. bell hooks. All About Love: New Visions. New York: Harper Perennial, 2000.   

· For more on masculinity: R.W. Connell. “The Social Organization of Masculinity” in The Masculinities Reader (eds) in Frank Barrett and Stephen M. Whitehead (eds). New York: Polity, 2001: pp.30–50. Cara Daggett. “Petro-Masculinity: Fossil Fuels and Authoritarian Desire” in Millennium: Journal of International Studies, Vol. 18, no.1, 2018.

· For more on care work and the sexual division of labour: Tithi Bhattacharya (ed.) Social Reproduction Theory, London: Pluto, 2017.

NOTES

[1] Mary-Catherine Harrison, “Reading the Marriage Plot,” Journal of Family Theory and Review, vol.6, no.1, 2014: pp.112–131, p.113.

[2] Heather Ingman, Irish Women’s Fiction: From Edgeworth to Enright. Sallins, Co. Kildare: Irish Academic Press, 2013: p.21.

[3] Janice Radway. Reading the Romance: Women, Patriarchy and Popular Literature. Chapel Hill: U of North Carolina P, 1984, pp16–17.

[4] Eva Chen. “Shanghai(ed) Babies: Geopolitics, Biopolitics and the Global Chick Lit,” Feminist Media Studies 12, no. 2, 2012: pp.214–228, p.216.

[5] Emily Nagoski. Come As You Are. New York: Simon & Schuster, 2021.

Also see: https://www.emilynagoski.com/ and https://www.pushkin.fm/podcasts/come-as-you-are/consent-and-enthusiastic-maybe.

[6] bell hooks. All About Love: New Visions. New York: Harper Perennial, 2000, p.211.