In continuing its commitment to increasing diversity and inclusion within the organization and the romance industry, Romance Writers of America will hold its second Diversity Summit at the 2018 RWA Conference in Denver on Friday, July 20. The Summit is a meeting that gathers high-level publishing professionals, key contacts at major retailers, members of the RWA staff and Board, and selected committee and chapter leaders who are registered for the conference. A summary of the Summit will be provided to membership by August 6, 2018.Key speeches given during the conference were also indicative of the depth of the Board's commitment to "increasing diversity and inclusion".
The Diversity Summit will once again be moderated by 2016’s Librarian of the Year recipient Robin Bradford. We'll be discussing the results of a survey RWA commissioned from NPD Book focusing on the buying habits of readers across ethnicity, age, and sexual orientation, as well as revealing initiatives within RWA to promote inclusiveness within our own organization and the industry. We will be inviting publishers to share their ideas, in-house initiatives, and ways in which RWA can be a resource for them.
This is really important. We hope our library and archives colleagues take the time to sit and listen and then use our enormous power to take action. https://t.co/07YqewLXPj— Browne Pop Culture Library @ BGSU (@BGSU_PopCultLib) 26 July 2018
LIBRARIANS!!!!! This amazing speech is for you. #CollectionDevelopment librarians, this is ESPECIALLY for you. https://t.co/En8EEoPnXL— Robin ⚾️🍹🎼📚 (@Tuphlos) 26 July 2018
Much of the feedback on my books was related to race. There weren’t comments on plot or pacing. No issues with dialogue or themes. The feedback was:
“We don’t have an African-American imprint at this time…”
“Your manuscript might find a better home with [insert publisher of Black books in completely unrelated genre]…”
“Are your main characters Black?” [I pondered this for a long time before responding and decided to say yes. I did not get another response.]
“I find your main character completely unbelievable…” [She was Black from an affluent family]
“We don’t know where to shelve your book in the store…” [With fiction? Or maybe romance? Just a guess…Or somewhere near the Colored People’s water fountain?] [...]
removed all references to race in the novel. I did not revise or alter my manuscript in any other substantive way. All I did was make the main character “not Black.”In 2012, that same manuscript became a Golden Heart Finalist. I wish I could say I was surprised. But I wasn’t.I submitted my manuscript for the final round of judging and included my characters as I intended. Black, brown, and white. At the RWA National Conference, I sat in an appointment with an editor from a Big 5 publisher. She was a final round judge for the Golden Heart Contest. “I read your manuscript,” she said. “I hated it.” This is a direct quote.
Individual contest judges who are biased would seem to be an ongoing problem. This year, for example, Alana Albertson reported that her inter-racial romance received a very low score for the ending:
Received my RITA scores. 1 "judge" gave my interracial romance, Invaluable, 2.9 out of 10, and checked no to the question— Alana Albertson (@AlanaAlbertson) 2 August 2018
Is the resolution of the romance emotionally satisfying and optimistic? The book ends with him proposing to her. Hmm #Rita #ritassowhite pic.twitter.com/hRpzWwSzMX
RWA responded swiftly to concerns about this year's judging process with the following post:OK, this is the new RITA judging rules for next year. It contains a warning that judges can be asked to explain their scoring, and possible consequences of up to lifetime disqualification from the RITAs (and, one hopes, from judging as a PAN member also). pic.twitter.com/He36DNbqiU— KJ Charles (@kj_charles) 2 August 2018
RITA scores went out to entrants last night and we have heard the concerns of those who believe their entries were subject to biased judging. This year, one of the major focuses of the RWA Board has been to evaluate procedures for the RITA Contest in light of the existence of bias among some judges. This bias results in an unfair scoring of books representative of marginalized populations, and harms the integrity of the award. At the July board meeting, the Board passed a new policy that we hope will allow patterns of biased judging to be identified and for actions to be taken against those judges if deemed necessary. [...]
While these policies only apply to the 2019 contest and beyond, we can begin documenting judging patterns this year. If an entrant feels their submission was judged unfairly due to invidious discrimination against content, characters or authors, we ask that the entrant reply directly to the scoring email with this information. Deputy Executive Director Carol Ritter will review the complaint and will make a record of possible biased judging. These files will be carried over each year and if a pattern is identified, action can be taken as set out in policy.
It is the Board's goal to create a RITA Contest that allows for fair and equitable judging of all entries, and we hope the changes made put us on a path to that reality.
The guest of honor for the conference will be 2017 RWA Nora Roberts Lifetime Achievement Award Recipient Beverly Jenkins, who has published more than 30 novels and is well-known for the level of detailed research she puts into each of her books – making her the perfect guest for this conference. She will be speaking and signing books Saturday afternoon at the Wood County District Public Library.
In Heather’s first-year writing class, Love and American Culture, in the primary goal is to introduce students to academic writing and research. Part of this entails helping students experience the excitement of writing a research paper when the topic is new and the questions are motivated by genuine interest. Heather has been collaborating with Ann, a research librarian, to develop an assignment sequence around original research on romance authors’ public social networks. The project uses Social Feed Manager and textual analysis tools to give students the opportunity to shape their own research questions and study the Twitter feed of the romance author of their choice.
“Vintage” category romances – commercial romance novels published twenty years old and older – can provide a fascinating data set for “community inquiry” (CoI), and a novel way to introduce students of writing to textual analysis. In its third iteration, my Ithaca College course Reading Popular Romance, is a writing-intensive first-year seminar taught using a Community of Inquiry (CoI) approach to instruction.Where are all the Fun Books: Popular Romance and Science Fiction Novels in Academic Libraries
Academic libraries have an uneven record of collecting popular contemporary literature (genre fiction). Due to this unevenness, colleges and universities that offer courses about particular genres or collect works devoted to the study of genre fiction may not actually own the primary texts. This study examines the extent to which award-winning novels in two popular genres—romance and science fiction—are included in the libraries of 114 major research universities (the Association of Research Libraries) and 80 prominent liberal arts colleges (the Oberlin Group).
Popular romance is truly one of the few communities and forms of media where the male point of view is not catered to. While the romance genre is the most profitable and least respected literary genre, romance novels have nevertheless become a safe space to explore marginalized identities. Our study focuses on the representation of black masculinities in Brenda Jackson’s Westmoreland Series, published as category romances via Harlequin.Happily Ever After …. And After: time travel, history and romance in the novels of Susanna Kearsley
[...] place often plays a central role in romance fiction. A perfectly-decorated seaside cottage, like a gorgeous silk gown, can be materialistic wish fulfillment for a reader who has neither gown nor cottage. However, place can also be deeply emotional, creating and shaping the conditions for relationships. In this presentation, I will be exploring the intersection between romance, place, and history in three novels by Susanna Kearsley: The Winter Sea, The Rose Garden, and Mariana.
[...] Although they range across time, each of these novels is anchored by its setting, which plays a crucial role in the emotional development of the characters and their relationships. [...] I will argue that these novels provide a framework that can help us understand the simultaneous specificity of romance – a series of intimate moments between people – and our urge to view it as a timeless emotion.True Love and Real Terror: Romance and Horror in Megan Hart’s The Darkest Embrace and Reawakened Passions
The Darkest Embrace and Reawakened Passions are romances that take place alongside a horror plot. Using Pamela Regis’s outline of essential elements of the romance, I will chart how both novellas fit the formula of a romance novel in a relatively short amount of pages. I will also make comparisons between Hart’s work and other short works of contemporary horror fiction produced online. This paper will show that the romance genre can be combined with the horror genre in a way that satisfies the expectations and conventions of both romance and horror, all in a short fiction format for a online audience.Finding the Fairy Tale in Popular Romance
Some novels retell specific well-known fairy tales, like “Cinderella” and “Beauty and the Beast” [...], while others incorporate a variety of fairy tale motifs without retelling a specific tale type [...]. Fairy tale intertextual references appear in just about every romance novel sub-genre [...]. Despite the almost ubiquity of fairy tale intertexts in romance, there are few scholarly considerations of the relationship between these narrative forms. Part of the difficulty is the misalignment between fairy tale theories and methods and the form of the romance novel. Jennifer Crusie’s “This Is Not Your Mother’s Cinderella: The Romance Novel as Feminist Fairy Tale” demonstrates some of the difficulties encountered when applying fairy tale theory to romance novels. Disciplinary boundaries and lack of familiarity with discipline-specific research methodologies and tools is another research challenge. In this paper proposes using Michael Dylan Foster and Jeffrey Tolbert’s concept of “the folkloresque” as a way to interrogate the use of fairy tales within popular romance novels.
I argue that the common reception of the romance novel is yet another example of women’s emotional labor being regarded as frivolously sentimental when in actuality it is impactful social excavation. My project uses an analysis of emotional work to argue for the romance genre as a feminist project. Though the romance novel has been widely disputed as a viable feminist project, an in depth examination of the emotional labor of characters and writer has been widely overlooked in this argument. As example, I examine the romance novel Outlander, and the emotional labor performed by author Diana Gabaldon for the story’s heroine, Claire Randall.
In this presentation, an archivist discusses her outreach to romance writers to learn more about their research behaviors, particularly their interest in and use of archives for writing their works. The results of this outreach led to the presenter’s article “Romance Writers’ Use of Archives,” published in Archivaria in 2016. It also led the presenter to invite two romance authors, Piper Huguley and Jennifer McQuiston, to the Society of American Archivists 2016 annual meeting to participate in a panel discussion on the role of research in their work. The presenter will share data gathered as part of a survey of romance writers about their research and discuss how the conversation at the panel session provided insight on how archivists might better serve the romance community and why it would be beneficial to do so.
Romance writers do research—but what about romance readers? If they do, what does their “research” look like? In this talk, I will explore the kinds of learning that previous scholars have said (and, sometimes, worried) might be inspired by romance fiction, with an eye to how these relate to the teaching and learning at work in other popular genres. (Thomas Roberts’s argument that all popular fiction invites us to “Think With Tired Brains” about serious and interesting topics will be central to this discussion; his Aesthetics of Junk Fiction has been central to my romance pedagogy for the past four or five years.) I will then compare these critical accounts with the actual learning and research that my students and I engage in as we grapple with romance novels in English courses at DePaul: both multi-author / subgenre surveys and 10-week courses focused on individual texts. One of those narrowly-focused seminars, on Sherry Thomas’s My Beautiful Enemy, will be underway during the conference, and I will describe what we are doing in it and why. (A clue from the heroine’s quest for ancient treasure in that novel, “use heart in your search,” gives my talk its title.) Rather than ask what romance novels do or don’t teach readers in general, I want to detail about what a few individual novels invite us to go and learn, about how they extend those invitations, and about what we find when we take up their offers, whether in or out of school.History's Been Hijacked: How To Combat White Supremacy Through Popular Literature
At the 2017 rally in Charlottesville, white supremacists carried banners covered in medieval heraldry alongside their Confederate flags, laying claim to the Middle Ages as a white, Christian utopia. This whitewashing of history and construction of a “white race” began during the Age of Enlightenment, and continued through the 19th century – which just happens to be the most popular setting for Historical Romance.Romance Novels for Feminists: What Does That Mean?
Often seen as providing harmless escapism, the persistent fabrication of an all-white, all-Christian universe has resulted in an ignorance so extreme that many readers of Historical Romance reject the historical validity of non-white characters, or question the possibility that any non-white character could have a “happily ever after” in a white-dominated world. While this attitude has a dismaying effect on the genre, the wider implications of creating a popular fantasy world based on white supremacist ideology – and presenting is as actual history – are chilling.
For better or worse, our understanding of history largely comes from portrayals in pop culture, from Game of Thrones to Downton Abbey. Writers in the wildly popular genre of Romance have an opportunity to shape the perceptions of readers to more closely match the historical reality, and to prevent racially motivated hate groups from co-opting centuries of European history for their own purposes.
How do online spaces allow feminist romance readers to define and negotiate feminism for themselves? How do these readers define which romance novels are feminist, and which are not? In this case study, I will look at the popular romance review blog, Romance Novels for Feminists (RNFF). In 2009, Jackie C. Horne, a romance novelist, former children’s book editor, and literary scholar, established RNFF to review and comment on romance novels in all subgenres. RNFF does not explicitly state criteria for book selection, only stating that it “strives to review only books that in its opinion espouse and/or encourage feminist value.” RNFF’s reviews of feminist romance novels are based on a no-grading system intended to open up conversations about feminism and fiction. The reviews on RNFF allow for dialogue amongst readers, responding to both the books themselves and to Horne’s reading of them. This paper will explore the traits that Horne homes in on for her selection of “feminist romance” criteria as well as the traits that blog responders find most important. I will focus particularly on claims of sexist and feminist contradictions in these reviews. Moments of agreement and disagreement between reviewer and responders suggest romance readers are using online spaces such as RNFF to determine what feminism means to them as well as to form and articulate opinions on what does and does not count as feminist in the genre.Romance Vs. Realism: How Critical Battles over Postwar Teen Romance Novels Led to the Emergence of Canonical Young Adult Literature
In 1942, Maureen Daly published Seventeenth Summer, the wellspring text for a new genre of American romance novels aimed at a freshly-minted teenage reading audience. Called the “junior novels,” this genre was comprised of romance novels—often series texts— that focused on a girl’s first love experience. Although they quickly became the main stock of emerging teen library sections, the scholarship surrounding them became a site of contention, polarized into two opposing—and gendered—camps: (female) librarians, and (male) academics housed in English and English Education departments.
This paper uses the lens of Pierre Bourdieu’s theories of cultural production to examine not the junior novels themselves, but their reception by critics—a reception based on early Cold War values regarding what constituted “good” literature for girl readers (and, as a corollary, what constituted “good girls”). Thus, although librarian critics valued these romance novels for their use in girls’ socialization, most post-secondary academic critics opposed them, placing value on their view of literary quality. This use versus quality dichotomy, moreover, masked an underlying—and gendered—struggle over defining “realism” as specifically antithetical to “romance.”
An examination of the junior novel critics’ scholarship thus demonstrates a hidden, historical battle regarding who had the right—and ability—to define what constituted “value” in literature for girls, and illustrates how American postwar teen romance novels led to the creation and sanctioning of canonical young adult literature.
The romance genre emerged as a counterpublic; a way for women to write books about women for women. Originally, the romance genre was not viewed as gender specific; but after World War II, and the return of men from the battlefields, women went back to their traditional roles, i.e. at home with their families. Romance novels have become a way to place female protagonists at the center of a story. Heroines across the genre are justified in their wants and desires, placing emphasis on the female experience and viewpoint. Today, romance readers face stigmatization due to their literary interests. Rather than celebrate a genre by women for women, readers and writers face marginalization. Avid readers of the romance genre find their voices in the online sphere; for instance, posting reviews or blog articles anonymously. On one hand, the online sphere should be commended for its ability to foster freedom of expression. Yet, on the other hand, it should be noted that the stigma surrounding the romance genre creates the need for ongoing anonymity. While readers are able to vocalize their thoughts, they may only feel comfortable doing so in an anonymous setting, unintentionally fostering the ongoing stigma of romance. The growth, accessibility, and affordability of e-books has also created a method for combating the genre’s stigma. Readers can make their literary purchases in the privacy of their own homes and privately read books on their electronic devices without preying eyes on recognizable romance book covers. The digital landscape is redefining romance and how readers discus the genre.An Articulation of Modern Indian Values in the Romance of Sandhya Sridhar
In 2009, avid romance reader Sandhya Sridhar quit her job at a newspaper in Chennai, India, and started her own company, Pageturn Publisher, which included the Red Romance Series, to publish English-language novels that she billed as “full blooded desi romance.” She sensed a need for romance novels more relatable to Indian readers than the imported Mills and Boons she grew up with. I argue elsewhere that desi romance can be considered a subgenre of romance, with the novels marked as Indian in a variety of ways that include language, content, and cultural values. Sridhar has written three books in the series, two in its first year (2010) and one in 2012. In this paper, I argue that Sridhar’s books have functioned as yardsticks for other authors and model the goals of this new subgenre. Through close readings of Heartbeats, Endless Time, and 31 Somnath Street, I address questions about family involvement in romance, acceptable erotic language, issues of consent, and an articulation of modern Indian values regarding sex and marriage. These values include respect for elders’ input, the inherent desirability of marriage and children, the prioritizing of the family over the individual, the importance of consent when it comes to intimate relationships, respect for all women, and women’s control over their own bodies and sexuality. These values reflect to readers Red’s ideas about of identity, self-realization, and romance in a post-colonial world.
Although the image of an Asian/Asian-American woman has been a hypersexualized one, the Asian/Asian-American man has been a desexualized figure in American history. In contrast to Black or Latinx men, Asian/Asian American men have been represented as asexual or gay. They are the Other who does not pose a sexual threat to the white man because they lack sexual power or prowess. These stereotypes have created an imbalance in what minimal representations exist for Asian/Asian Americans in American culture, including romance novels. As a result, there are often more representations of Asian/Asian American women in interracial relationships with white men than there are of strictly Asian/Asian American couples. My presentation focuses on the history behind the sexless Asian/Asian American man stereotype and how trends in American popular culture towards Asian/Asian American men may be changing perspectives of them, which may be impacting the romance industry and could also be impacted by the romance industry. I will provide examples of how author ethnicities and audience reaction to Asian/Asian American men may be catapulting Asian/Asian American men to lead roles in romance novels for the American market. These Asian/Asian American leading men present a new option for masculinity, where sexual attractiveness and ability are not reliant on the abuse of the power dynamic between men and women because there are comparable oppressions (interracial coupling between a white woman and an Asian/Asian American man) or whiteness is decentralized (Asian/Asian American couple or an Asian/Asian American man with a woman of color).
When the first novel in the international bestselling Outlander series debuted in 1991, it was marketed as a quintessential historical romance - complete with a highly stylized cover - and shelved in the romance genre sections of bookstores and libraries. Cementing its status as a romance novel, Outlander won the Romance Writers of America's RITA Award for Best Romance of 1991. Yet, even though author Diana Gabaldon courted romance fans and accepted the community’s awards, she also insisted that her novels were not just romance novels and struggled for years to have her books moved into general fiction sections and to be recognized as more than just a romance writer.Paranormal Romance: A History
This in-depth critical analysis of Gabaldon’s body of work examines her uneasy position within the romance genre and the tensions among her critics and fans who seek to define her as a romance writer or establish her as a general fiction writer. This presentation will discuss a textual analysis of the Outlander books and the television adaptation of the series, as well as a critical analysis of online fan communities and media critics who review the books and television series. In this research, I position myself as both a feminist media scholar who studies and teaches scholarship on romance novels and as a long-term fan of Gabaldon’s work who is deeply familiar with the Outlander fan community.
Paranormal Romance was a term coined in the 1990’s, but during that decade, this subgenre was very marginal. The genre, which was all but disappearing by the year 2000 started to take off at the beginning of the 21st Century. September 11th triggered a new interest in romances with paranormal elements that allowed both writers and readers to delve on issues too painful or controversial to confront directly at the time. In the early years after the attack there was a preponderance of novels portraying the shock of discovering magical (and menacing) elements irrupting in our everyday reality. Later on series tended to develop fictional worlds in which the paranormal elements were a given, abandoning the discovery narratives. They either reflect a dystopian reality, or the realistic world becomes a backdrop for the action, but not an essential element of it. Over time, the superficially apolitical nature of the paranormal romance has been eroded with more openly ideological discourses emerging often. This evolution parallels the trajectory of other non-romance genres, especially urban fantasy. This paper will offer an overview of the history of the genre, emphasizing the connections between romance, culture, and history. While romance as a reflection of the changing gender roles of women over time has been frequently observed by critics, there is a scarcity of a more systematic evaluation of romance as a dynamic genre intimately connected with its historical moment. This paper will challenge this perspective offering a new reading of this subgenre.Christian Romance Novels through the Eyes of West African Women
The romance novel has been a source of ridicule and criticism ever since its inception and most especially due to its consumption by women. Scholars such as Tania Modleski and Janice Radway arguing that it actually empowers women of which African women are included. However, there exists little or no scholarship on African Romance novels or even Romance novels based on Africa. My paper, therefore, seeks to address the scarcity of African romance novels which special attention to West African women. It is interesting to find out that mostly Christian authors have been able to combine these two powerful themes into a novel that entertain while evangelizing to people. The West African woman like every other in the Western world enjoy romance novels, however, there exist very literature on African Romance novels. My paper seeks to determine if the few African romance novels are written and published by African press follow the romance formula and most importantly, do these books be used by feminists to empower more women or are these novels in tune with the African cultures and religious beliefs that endorses patriarchal rule. My paper will use the use the novel of Unoma Nwankwor’s “An Unexpected Blessing” and Lynn Neal’s “Romancing God” since the novel falls under Christian romance and African women are noted to be religious; thus shedding more light on the relevance of this little-recognized issue.Fantasies of Masculinity in Male/Male Popular Romance
In her book, Hard-Core Romance: Fifty Shades of Grey, Best-Sellers, and Society, Eva Illouz asks: “why is traditional masculinity pleasurable in fantasy?” (58) To answer this question, I focus on the rise of the male/male popular romance novel, and think through why these novels are pleasurable. To these ends, I draw on Lucy Neville’s work on gay pornography, which she argues “subverts the patriarchal order by challenging masculinist values, providing a protected space for non-conformist, non-reproductive, non-familiar sexuality, and encourages many sex-positive values” (204). While this may be true of gay pornography, can we say the same is true of the male/male popular romance? Does the male/male popular romance novel really subvert the “patriarchal order”? Does it provide a space that “encourages many sex-positive values”? As such, this paper attends to a close reading of texts alongside theoretical work coming out of queer theory and the critical study of men and masculinities. Ultimately, I argue that the male/male popular romance novel remains an important site of analysis for studies of masculinity, but that, at bottom, we are still left with “traditional masculinity” as noted by Illouz, and, in many ways, the “profoundly bourgeois" (207) values central to the romance narrative that Pamela Regis noted in A Natural History of the Romance Novel. As such, I argue that these novels are not as subversive as we might hope for.Queer Evolution: A Biocultural Investigation of Gay Romance Fiction
Literary Darwinism and biocultural theories of literature have seemingly ignored queer identities in their studies of literature, film, and popular culture. This study attempts to begin the integration of biocultural theories and queer theories by analyzing a collection of stories from Japanese BL (boys love), bara manga, and Western romance novels. These three unique genres are selected to give attention to narratives written by both straight and gay writers. The implications of generic format and the identities of the writers will be discussed as well. By comparing and contrasting these genres, this study seeks to establish the biocultural implications homosexual identities function within these texts. Specific attention will be paid to homosexual courtship and evolutionary theories of homosexuality, and how these texts conform to or deny specific theories. In addition to the traditional biocultural theories, attention will be given to the specific Japanese understandings of homosexuality and same-sex relationships and the country’s history of homosexuality and homosexual identities. In doing so, this study hopes to begin understanding queer identities within a Literary Darwinist framework, for just as fiction has be used to explore philosophy, so to can fiction be used to explore evolutionary psychology.
The character of the ‘nerd’ has been prevalent in popular culture, usually represented as a man whose intelligence and lack of social skills keep him from achieving his ultimate desire: obtaining an attractive girlfriend. Since the early 21st century, the concept of the nerd has expanded to discussions of toxic masculinity and entitlement, often seen in such arenas as the culture of the tech industry and the Gamer Gate phenomenon. My paper addresses the central question of how the modern romance genre includes these character archetypes and incorporates them into the romance genre. Specifically, in my paper, I will use the scholarship of Carol Thurston, Jennifer Crusie-Smith, Lynn Coddington, and representations of masculinity to analyze the nerd character in the contemporary romance novels Romancing the Nerd by Leah Rae Miller (2016) and Nerd in Shining Armor by Vicki Lewis Thompson (2003). I will use these case studies to illustrate how a feminist reading of romance novels interprets and redefines the highly gendered concept of the nerd, how the genre provides a space for character transformation, how these texts redefine the concept of the ‘nerd’ in terms of the self, and to examine how the nerd character is a product of gender performance.The conference continues on Saturday!
The dominance of popular romance in the United States fiction market suggests that its trends and themes may reflect the politics of a significant proportion of the population. Pursuing Happiness explores some of the choices, beliefs and assumptions which shape the politics of American romance novels. In particular, it focuses on what romances reveal about American attitudes towards work, the West, race, gender, community cohesion, ancestral “roots” and a historical connection (or lack of it) to the land. The novels discussed include works by Suzanne Brockmann, Beverly Jenkins, Karin Kallmaker, Pamela Morsi, Nora Roberts, Sharon Shinn, Linnea Sinclair and LaVyrle Spencer.
"Pursuing Happiness explores the ways that popular American romance novels engage such matters as US gender roles, attitudes toward disability, the myth of the frontier, individualism and community, and racial violence and discrimination. A thoughtful study with a refreshingly topical focus.” — Prof. William Gleason, Princeton University, co-editor of Romance Fiction and American Culture: Love as the Practice of Freedom?
“Pursuing Happiness is an insightful and entertaining look at the inherent, often invisible, politics that underlie America’s most popular genre of fiction.”— Isobel Carr, romance writer.
It is a linguistic, literary stylistic, and structurally formalist analysis of the male and female “sentences” in the genres that have the greatest gender divide: romances and mysteries. The analysis will search for the historical roots that solidified what many think of today as a “natural” division. Virginia Woolf called it the fabricated “feminine sentence,” and other linguists have also identified clear sex-preferential differences in Anglo-American, Swedish and French novels. Do female mystery writers adopt a masculine voice when they write mysteries? Are female-penned mysteries structurally or linguistically different from their male competitors’, and vice versa among male romance writers? The first part can be used as a textbook for gender stylistics, as it provides an in-depth review of prior research. The second part is an analysis of the results of a survey on readers’ perception of gender in passages from literature. The last part is a linguistic and structural analysis of actual statistical differences between the novels in the two genres, considering the impact of the author’s gender.
In my research for a book on gender bias in romance and mystery publishing, I found that most female romance novelists were married, while most female mystery novelists were divorced or otherwise had many negative relationships in their past.
A good thing about genre romance is that the happy ending is guaranteed, so it’s a safe space to explore topics that can be painful such as domestic abuse and alcoholism. Such stories interest me, so that’s what I write.
Frou-frou fables for people starved of real love, or empowering stories that bring hope and happiness? Romance novels are perhaps more loved and more derided than any other book genre. Anne Gracie, a bestselling romance writer herself, recounts how she went from sneering at romance to writing it.
publishing industry [...] self-identifies as 89 percent white, 3 percent Asian, 3 percent Hispanic, and just 1 percent African-American, according to a 2014 Publisher’s Weekly survey. Case in point: At the conference, Jenkins shared a story about feedback she received on one of her manuscripts. “We all know what ‘[keeping it on the] down low’ means, right? Well, the copyeditor did not,” she said. Judging from the laughter in the room, the audience, and especially her fans, got it. “And she sent me back a little note that said, ‘This is not correct. You should say, ‘Keep it on the low shelf.’ And I said, ‘How about I don’t say that?’ So you know, you’ve got to have a sense of humor to do this.”It's available in full, for free, online here.
This article explores the frequent faints depicted in the Fifty Shades novels in the context of a long history of feminine swooning in the popular novel, and in light of Alexander’s Pope’s famous description of bathos as ‘the felicity of falling gracefully’. Pope’s satirical treatise describes not just a sinking from the high to the low, but from the present to the past, through a process of bathetic literary travesty. The author argues that the Fifty Shades novels travesty their literary precedents, troping in particular on past moments of female powerlessness and producing bathos through depictions of the fainting female form. The novels depend in particular on (mis)readings of Tess of the D’Urbervilles: their celebration of Tess’s abjection strips Hardy’s novel of its most complex and disturbing elements, euphemizing a bloody and tragic struggle as a swoon of ecstatic submission. At stake in this discussion is the question of how popular fiction deals with its past—in this case, how the novels deal with a history of exploited femininity iconized in the swoon. The Fifty Shades novels simultaneously invoke and deny the past, celebrating female abjection in a manner that disavows the specificities of that abjection, and denying the materiality of the materials they draw upon. E. L. James’s approach to her historical referents is contrasted with Angela Carter’s, through which the texture of the past (and the motif of feminine fainting) is vividly engaged with in an attempt to transform the future.
