Romancing the Novel

by Phyllis Taylor Pianka

It's interesting to note that category fiction -- such as mystery, action adventure, police novels, science fiction and romance novels -- is still the mainstay of the publishing industry. Check the bookstore shelves if you’re in doubt.

Romance outsells most category novels. Harlequin, the world's largest publisher of category fiction, sold over 200 million books in one year. That averages out to six books per second, world wide. And they are just one publisher. That fact combined with the number of romance novels other publishers sell per year, is a good reason why slanting your work toward a category market is the least difficult way to get your first book into print.

Something for Everyone

Just what is a romance novel? If you haven't read a romance novel within the last year, then your answer would probably miss by a mile. Today's novels may include such gritty issues as the homeless problem, mistreatment of foster children, single parenting, and sterility. If these subjects don't excite your creativity, then you might consider writing about time travel, reincarnation, romantic suspense, mystery, an historical romance, or a Regency Historical. The beauty of writing for the romance markets is that there is something for everyone. This applies to both men and women. Many men, as well as husband and wife teams have found success writing romances.

Romance novels are not so different from midlist or mainstream novels. There are, however, elements that set them apart from most other novels. The focus of the romance novel is the developing relationship between the hero and heroine. To that end, the rule of thumb is that the hero and heroine cannot be apart for more than five manuscript pages. If they are, they should at least be thinking of each other.

In the romance novel the heroine and hero are destined to be together, whether they know it or not. Once they are introduced (or re-introduced if they knew each other before) they cannot become romantically involved with another person.

This is key to romance novels. They may have had an affair before the book opens, but for the heroine in particular, promiscuity is out of the question.

The focus is not to be confused with the plot... which is the story that evolves out of that relationship and its conflicts.

The second inviolate rule is that there must be a happy ending. The bittersweet ending that we sometimes see in the mainstream or literary novel is unacceptable for most romance novels.

The same rules apply to historical romance novels. Of course the settings differ and the plot revolves around the pageantry and romance and events of days gone by.

Strong Characters

One of the problems beginning writers often make is that they place too much emphasis on plot when they should be concentrating on developing strong characters. The most memorable books are 70% character and 30% plot.

There are six basic elements of the romance novel:
1. A hero to die for / a heroine to admire. Remember that this is fantasy based on reality. The characters are usually larger than life and are the major element in a romance. Emotion is an essential ingredient.
2. A critical situation. What is different the day the book opens? What has just happened, is happening, or is about to happen that will change their lives forever? The critical situation is usually the event that triggers the conflict.
3. Conflict. Obstacles we put in the way of the character’s progress toward goals, both internal and external, temporary and long term. The characters’ pursuit of goals, either mutual or opposing goals, is one of the strongest sources of conflict. It is conflict that provides drama.
4. Romantic encounters. The building of a relationship, developing in a way that is basic to the characters’ profile is a crucial element. A slow build-up is best, but the sensuality must grow even though the progress toward the accomplishment of their goals is delayed. Not every encounter is sexual, but there is always an underlying current of sexual tension. The degree of sensuality versus sexuality depends on which publisher, which line, you want to publish your book. Slant is vital. Send to the publisher for a copy of their writer’s guidelines to discover exactly what the publisher wants in word count, settings, character types, and degree of sensuality.
5. A resolution to the conflicts(s). If one conflict is resolved, another conflict should be introduced in order to maintain the drama and tension, until all conflicts are resolved. If all conflicts are not resolved, there should at least be hope for compromise.
6. A happy ending. "Happy ending" means a conclusion in which hero and heroine make a commitment to each other. It is important to find a balance to their conflicts. If one character gives up everything to make the commitment work, the reader loses respect for that character. When each person sacrifices something they want, it makes the love appear stronger.

Understand the Tone; Respect the Reader

There are many options for the romance writer. The traditional romances such as Harlequin Romance or Silhouette Romance are also called sweet romances because they are sensual, but not sexually explicit. The role of the woman in sweet romances is comparatively low key compared to the more aggressive heroines in more sophisticated lines such as Silhouette’s Intimate Moments and Silhouette Desire. In some romance lines, mystery, suspense, and fantasy play a big part.

Understanding the tone or slant of romance lines can be accomplished by reading recently published novels. Because slant is cyclical, it is important to read recent books that have been published for the first time. Check the publication dates in the front of the book to be sure it isn’t a reprint. Re-printed books by well-known authors, do not always reflect what publishers are currently seeking.

Subjects that are perennially popular include cowboys, marriages of convenience, and babies. Historical Romances are still popular, as are time-travel novels -- although time-travel has lost a few markets.

When a reader buys a romance novel she makes an emotional as well as a monetary investment. A successful romance writer is one who respects the reader by providing accurate research, fascinating settings, and a satisfying love story that warms the heart and stays with the reader after the last page is turned.

To learn more about opportunities in writing for the romance market, a list of sources follows.

Romance Writers of America: A national organization for romance writers. They produce a highly informative monthly newsletter that provides current articles and marketing information. http://www.rwanational.com

Harlequin Books: http://www.romance.net

Penguin USA (includes Signet, Dutton, Onyx, and Topaz): http://www.penguin.com

Zebra Books: http://www.zebrabooks.com

Random House: http://www.randomhouse.com

Warner Books: http://www.Pathfinder.com/twep

-- PTP
© 1999 Phyllis Taylor Pianka