This is beyond “historical,” or “suspense,” or “comedic,” or “dramatic” romance. That’s a given from page 1. (Or the prairie dress depicted on the cover.)
Nah.
During my reading for pleasure of Christian romance, I noticed different styles of an author introducing the romance between a guy and gal.
I mean when the romance starts. How it starts. How deep it goes. Sometimes early-on… and sometimes not so early. Here are four of my “Romance Style” findings:
Style #1) “I hate you… until page 100” Romance
Forget kisses and cuddles. No endearments. In fact, the hero and heroine of the story flat-out hate each other at the beginning of the novel. He’s the best friend’s older brother who pulled her pigtails in fourth grade. Or she’s the wall flower he never noticed. Or he’s the police office… and she’s the convicted criminal. Or the two are co-workers forced to work together on a big project… and she simply can’t stand his goody-two-shoes ways.
But it’s a romance, so unless there is a love triangle (think: Hunger Games Peeta and Gale), it’s pretty obvious Boy and Girl will eventually get together. I guess the thrill is finding out how. And it sure is a fun ride—already knowing the destination—but enjoying the bumps along the way. The flat tire here… And how exciting that can be. And the construction going on over there… And how each character handles the situation. Draws them together? Or pulls them further apart? And the reader thinks, “Oh, wow, how is she going to get out of this one!” And we keep riding, bumps and all.
That is, until page 100… or chapter 30… or whatever… and finally the confession comes out. The hero reveals something oh-so-deep and the girl is amazed and awed and—of course!—star-struck. (Whew! For a second there, I thought the library labeled this genre wrong. Or the renowned romance author is starting to write thrillers! Yikes!
(For a sample, read Margaret Brownley’s A Match Made in Texas.)
Style #2) “Do I love him?” “Do I love her?” Romance
There’s definitely attraction from the get-go. Usually from first-sight. (Awww.) But there are hiccups. The heroine notices he talks quite a bit with a former girlfriend… or is she really “former”? Or the fellow sees the girl back-off way too frequently when he leans in for a kiss and he doubts her feelings for him.
But the reader has the privilege (or the curse) of knowing the other POV. We know the real reason the guy is talking so much to his ex… and it’s completely innocent. And the reader knows he’s oblivious… because she never confronted him about it. Or, he does try to explain his conversations, but he’s shy… or always interrupted… or feels she doesn’t believe him anyway… or he thinks it’s not so important and she should just believe him. About this time, the reader starts screaming at the book and wants to hurl it across the room out of sheer frustration. But then we calm down, pick up the book (hey, you actually threw it?!) and keep reading because we hope-beyond-hope he’ll straighten this up. Or she’ll ‘fess up. Or he’ll fight for her. Or she’ll forgive him.
We talk a lot to the pages during these type of romances. “Don’t give up on him! He really does love you… No, no, no, don’t slam the… No!” Frantic page turn… only to find we’re on a different chapter, different scene, another POV… Check the time. Fight the tears. And read on, muttering, “I can’t believe you left him.”
(For a sample, read Trish Perry’s Tea for Two.)
Style #3) Women’s Fiction Romance
(DISCLAIMER: I have no idea the true characteristics of women’s fiction! These are only my opinions.)
My definition of Women’s Fiction: Whereas Romances split POV 50-50 between the hero and the heroine, Women’s Fiction has most the scenes in one POV. Moreover, romance in Women’s Fiction is centered around a deeper, more serious issue. Think: infertility, mental illness, death, unfaithfulness in marriage.
There are Women’s Fiction that do not deal with romance. This section is only on those where romance/relationship between a guy and girl is part of the theme.
There’s two powerful elements unique to Women’s Fiction:
- We are intimately involved with the protagonist, since most scenes—if not all—are in his/her POV. We see most of the thoughts and feelings. And it’s not thoughts on “Do I love him?” but “How am I going to get through this?” We are driven into the protagonist’s value system and beliefs. It’s deep. (If you don’t tear up while reading, you are obviously skimming.)
- We get a front-seat view of the protagonist dealing with a really hard time. Not a simple “Oh no, I flunked my exam” but the issues listed previously. Bad stuff. Hard stuff. Not pleasant either. Issues typical romances stay away from because there is no easy solution. And, just as listening to a friend’s testimony or reading an autobiography, we can learn boatloads and maybe even use some of these hard-earned lessons in our own life. (Again, keep tissues nearby.)
There might not be any kissing or cuddling… but the love is apparent. And is the mature kind between a pair who has been in a relationship a long time and hit this huge boulder in their lives. Unsurpassable even. But unless the obstacle is overturned, their relationship is on hiatus. And—unlike romance—there is no way of knowing which way the tide will turn until the last page.
Whereas, Romance has twisting roads, U-turns and sometimes a jump on the highway and leave town, Women’s Fiction is a straight-arrow journey..
A Romance novel may start with an issue of body-image… Then the heroine helps a friend get her certificate for a job (and has a date on Friday)… And then during their date, he learns he might have to move to Seattle and can their budding romance survive the distance? So-on and so-forth. At the end of the novel, the body image might be alluded to at the altar when he lifts her veil and says, “I love you the way you are.”
In a Women’s Fiction romance, however, a novel which begins with body-image will end with a satisfying conclusion concerning the original issue on body image.
In other words, a Romance focuses on the relationship (and the issue is a sub-plot), and a Women’s Fiction Romance has the life issue in the fore-front and the relationship as the sub-plot.
The outcome of a Women’s Fiction romance isn’t certain, but the reader will have a different outlook on love by the final page-turn.
(For a sample, read Cynthia Ruchti’s A Fragile Hope.)
Style #4) “The First Kiss by Chapter Three” Romance
Boy meets girl, and they dive in with two feet. “Hey, I love you.” “Yeah, let’s do this.”
And then: BAM! New issue. Because the couple isn’t questioning they are a match. Maybe future mother-in-law is questioning it though. Maybe it turns out the heroine can’t cook and the hero’s a health-nut. (Uh oh.) Maybe he loses his job and their future together is on the rocks.
And the hero and heroine deal with it. They learn to depend on each other. They rip out any trust issues and work together.
It’s still a romance. (A happy ending is still a sure thing.) But it’s a bit deeper. A little bit beyond romance and into bigger-issue territory. A story of inward healing. But still with lots of hope. Maybe the reader tears up, but it’s not nearly as death-defying and serious as a Women’s Fiction romance.
(For a sample, read Denise Hunter’s Honeysuckle Dreams.)
Any other styles of romance you’re aware of? I’d love to hear about your reading adventures!
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Interesting. I like how you delineated different sub-genre’s.