Jennifer
asked will you decide on the definition of a "romance novel" proper? Will they be only the books found on the Romance section bookshelf? Can any love story make the cut? [...] How much mystery or fantasy can a novel contain before it passes from romance to something else?
I think the
definition given by the Romance Writers of America (RWA), that 'Two basic elements comprise every romance novel: a central love story and an emotionally satisfying and optimistic ending' is pretty much perfect as a short definition of the genre. For a definition of the structural components (e.g. 'barrier', 'moment of ritual death') of each romance, Pamela Regis'
A Natural History of the Romance Novel is excellent.
One factor which complicates the definition of 'romance' is the historical usage of the term. Yesterday I went to a talk given by
Eileen Ramsay, Honorary Secretary of the UK's
Romantic Novelists' Association (RNA), and she said that when she thinks of the term 'romantic fiction' it brings to mind stories about knights. In an
online article she's said that:
My dictionaries state that Romance is an idealized, poetic or unworldly atmospheric work of literature concerning romantic love or stirring action, medieval tales of chivalry. Romantic means concerned more with emotion than with form; characterized by or suggestive of romance.
She quoted from Robert Louis Stevenson's essay,
'A Gossip on Romance', in which he disparages stories about the 'clink of teaspoons and the accents of the curate' and instead praises romances, by which he means adventure stories.
One observation of Stevenson's which might, however, be applicable to the modern romance novel is that: 'This [...] is the triumph of romantic story-telling: when the reader consciously plays at being the hero, the scene is a good scene'. Though the novels described by Stevenson are not modern romance novels, one thing romances have in common with them is that they are books which stir the emotions and whose readers are often caught up by the story to the extent that they identify with the characters.
The modern 'romantic novel', according to Eileen Ramsay, is a novel with a love-story at its centre. She didn't at any point touch on the issue of whether the ending should be a happy or optimistic one, and this, I think, is a key difference between her tentative description (which, as far as I know, reflects the position of the RNA, though they do not have an official definition) and the RWA's official definition of what constitutes a romance novel. The RNA, as its name suggests, include writers of works which might not be strictly defined as 'romance' according to the RWA definition. The RNA is an association of 'romantic novelists', not just 'romance novelists'.
My feeling is that the RWA's definition focusses on what's at the core of romance. Of course, it's hard to define exactly when a love-story ceases to be 'central' and becomes more of a subsidiary element of the story, but I think most of us, most of the time, are able to recognise when the love-story is central and when it isn't, just as we can say which endings leave us feeling 'optimistic' and which don't. The RWA's short definition is interesting in that it doesn't actually specify the species, gender or even number of the participants in the 'love-story', and I'm glad about that, because I think it gives authors writing in this genre room to explore what is meant by a 'love-story'. They may fail to convince all readers that what they're portraying
is a love-story (rather than, say, a lust-story, an orgy-story or a dull-and-comfortable-relationship-story), but they have the freedom to try. The RWA's definition is also relatively open regarding the ending of the novel, specifying only that there must be 'an emotionally satisfying and optimistic ending'. Again, the authors may fail to convince readers that their ending is either emotionally satisfying or optimistic, but they're at liberty to explore the various options. In any case, readers are unlikely to agree on which endings leave them feeling 'emotionally satisfied' because, to take a couple of examples of possible elements present at the ends of romances, while some readers find babies romantic, others think them the antithesis of romance; some readers can think of nothing more satisfying than a marriage, others may feel this would restrict the characters.
I think having a definition of the genre is very useful because,
as Pacatrue observed, this enables us to think about each romance on two levels:
What I have in mind is that when an author writes a romance novel, they are simultaneously creating a stand-alone work, which can be judged on its own merits, and creating the genre itself. The originality then might come not only from the nuances within the structure, but in creating the structure as well.
Although each work will stand or fail on its own merits, it will also be seen in the context of its place in the literary canon and/or within the conventions of its genre (e.g. romance, the gothic, the mystery) or the literary movement to which it belongs (e.g 'magic realism', 'the Romantics'). Readers conversant with the genre/literary movement will be able to perceive how the novel either reinforces the existing conventions, or pushes at their boundaries.
Of course, not everyone is happy with the idea of defining the genre, and it can lead to dissent and division, as was obvious in 2005 when problems arose within the RWA. As Laurie Gold asked during her
discussion of the controversies related to genre definitions 'How far can you push the envelope before it tears? Do you create a larger envelope - or do you suggest that perhaps a second envelope is needed?'. What was challenging the genre definitions that year
appears to have been both the erotic romance subgenre and romances featuring homosexual couples. Another issue is whether a writers' organisation should be involved in defining the genre. Personally, I don't see why the authors shouldn't create definitions of the genre - they are, after all, the ones who create the novels. But I can understand why some members might wish to avoid definition, as it can be both a distraction and a source of contention which dilutes the organisation's focus on helping to nurture writing talent. As
Anne Gracie says of the Romance Writers of Australia, which is a much smaller organisation than the Romance Writers of America:
The organization is there to help people get published and to help published authors network and learn to further their career. We're not interested in splitting hairs over what romance is or isn't -- we support our members, no matter what they write or where they are in the long journey to getting published.
The UK's Romantic Novelists' Association also offers no official definition of the genre.
Romance is a genre which is often disparaged, and its readers are not infrequently mocked or belittled. For example, Zoe Williams, writing in
The Guardian about Mills & Boon romances said that:
Everybody could tell you broadly what they do, but nobody ever reads them; it's not so much literature as a kind of seepage. [...] I understand the urge for a comfort read entirely, but my feeling about the Mills & Boon reader has always been that she's very, very idle. There is so little variance within the template that, really, you should be able to make stuff like this up for yourself.
Eileen Ramsay's talk was originally going to be titled 'The Genre That Dare Not Speak Its Name', though it ended up being called 'The Writing Business', and she suggested that one way to remove the stigma that's attached to romance and to romantic novels would be to drop the genre labels. Why, she asked, could her books not just be marketed as 'good books'? A librarian at the back of the room pointed out that readers would find it very hard to find the books they wanted if books weren't divided up into genres, which takes us back to some issues I raised in previous posts about
reader preferences and how they select books which
suit their mood. The issue of marketing was also raised by
Kimber:
It seems to me that because romance novels are a commercial industry [...] one needs to take into account the commercial definition of romance [...]. Lots of books that aren't commercial romances, like "The Time Traveller's Wife," are romantic in theme. And I've read plenty of novels that are billed as general fiction, that were really straight-up romances (Ken Follett's "A Place Called Freedom" is a prime example).
So much of the analysis of romance novels seems to hinge on the social or political aspects of their marketing, audience, and low literary status, that you almost can't separate the publisher's definition from the actual definition (whatever that may be). From that point of view, it might be worth looking instead at the question, "why do some kinds of books get labeled 'romance' by publishers, and others not?"
I'm not sure there is a 'commercial definition of romance', or if there is, I've never seen it. It seems to me that publishers label books in whichever way they think will sell the most copies. Romance might be labelled 'romance', or it might be called 'chick lit' or 'women's fiction'. It could also be 'historical fiction' or 'mystery' if the book is in a particular sub-genre of romance. The process doesn't just work in one direction, though. Yes, romance may have a 'low literary status', but if it sells, then publishers are willing to put covers on works of literature which might suggest that the contents are chick lit or romance. Recent examples are the new editions of Jane Austen's works:
Headline Review's May 2006 Pride and Prejudice, for example, and the same book
as published by Bloomsbury, with an introduction by Meg Cabot, have covers which seem to indicate that the contents are 'romance' or 'chick lit'. I'd agree with Pamela Regis that Austen's works are romance, but that's not how they've usually been marketed or shelved, which is something that makes these new editions an interesting development.
Romance, then, as defined by Regis, may, or may not, be literature, and romantic elements are present in a very large proportion of literary works. As Eileen Ramsey demonstrated by reading excerpts from a variety of novels, including passages from Tolstoy's
Anna Karenina, John Buchan's
The Thirty-Nine Steps, Dickens'
A Tale of Two Cities, Austen's
Emma and a passage from a novel written by
Sophie Weston (who writes for Mills & Boon, and, as
Jenny Haddon, is the Chairman of the RNA), 'purple prose' may be found in works of literature and, conversely, there are some passages in romantic novels which are just as good as those to be found in works which would be classed as 'literature'. Ramsey concluded that each romance or romantic novel should therefore be assessed individually, not pre-judged by reference to the worst examples of the genre.
While I agree wholeheartedly that romance and romantic novels can be well-written, I wouldn't want to jettison the genre definitions in order for them to gain acceptance, and while I can understand why defining the genre may create problems for a writers' organisation, I continue to believe that basic definitions of the genre are very useful, both to readers looking for love-stories with happy endings, and to academics.
