One of the joys and ultimate challenges of writing good romance fiction is not reproducing, in cookie cutter fashion, the same story over and over again. Rather, it is writing a story that adheres to the conventions while altering and building upon what has come before. Authors and readers are aware and accept that these works follow a set formula and part of the pleasure of reading romance fiction comes from this familiarity.
The Joys of Reading Romance Fiction
Traditionally, romance novels and other mass produced genre fiction were not viewed as literary because they are not individualized narratives. Women in modern romance fiction, for example, are usually young, attractive, single and available to find love. The heroine’s journey is often fraught with tension that she must negotiate, but in the end, there will always be a union of hearts.
The hero will be similarly attractive and strong but also contradictory, ambiguous, or misunderstood. A good hero will also allow the heroine (and the reader) a glimpse of the boundary between the permitted and the forbidden, and the opportunity to step over this boundary in an imaginary and controlled way.
Importantly, romance fiction represents a fantasy world that reflects the current interests and attitudes of its readers. If an audience cannot imagine themselves in the world of the novel, if it does not reflect their desires, or changing cultural values, it will hold little interest. Successful romance fiction must negotiate the traditional and the contemporary; the familiar and the unique.
How to get a Novel Published
If you are thinking of trying your hand at writing a romance novel, there are several common pitfalls first time writers should consider. According to Harlequin’s advice for would-be authors, there are several character traits and plot devices that alienate readers. Avoiding these simple reader turnoffs could bring you much closer to getting your book published.
The first turnoff is a dumb heroine. If the central female character does not understand her own emotions or keeps making the same mistakes, the reader will soon tire of her and the story. Equally, if the heroine is too good or too evil readers will not identify with her and close the book. Characters need to be three-dimensional, warts and all.
Second, a violent or aggressive hero is not enticing or sexy. He may be moody and distant but not domineering. Abusive male characters are insecure characters which do not appeal to self-assured, confident readers or fictional heroines. Other taboos include depictions of sex without consent or sex that involves underage characters.
The third turnoff is banality. Romance novels are short so there is little time to describe in relentless detail the day to day activities of your characters. Pages on how your heroine gets to work or what she eats for lunch will have readers yawning in no time. Focus on how they fall in love, the strong spark between them that makes it difficult to be apart, and the obstacles they need to overcome to be together. Some form of conflict is key to a strong plot.
Ultimately, it is important that the central characters change and grow over the course of the narrative. They are, in fact, going through a life changing journey (falling in love) and readers must be able to identify with the characters and feel that they have been with them every step of the way. Only then will you have a successful story. Knowing the formula is important but so is being willing and able to bring something new to the mix. Good luck!
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Marilyn Michaud - Marilyn Michaud teaches English Literature and writing in Toronto. Her research interests include American history and culture, Gothic ...
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