English Novel Romantic Pdf

[Livia Dossantos]

Aromance novel or romantic novel is a genre fiction novel that primary focuses on the relationship and romantic love between two people, typically with an emotionally satisfying and optimistic ending. Authors who have contributed to the development of this genre include Samuel Richardson, Jane Austen, and Charlotte Bront.

Romance novels encompass various subgenres, such as fantasy, gothic, contemporary, historical romance, paranormal fiction, and science fiction. Women have traditionally been the primary readers of romance novels, but according to the Romance Writers of America, 16% of men read romance novels.[1]

A thriving genre of works conventionally referred to as "romance novels" existed in ancient Greece.[2] Other precursors can be found in the literary fiction of the 18th and 19th centuries, including Samuel Richardson's sentimental novel Pamela, or Virtue Rewarded (1740) and the novels of Jane Austen. Austen inspired Georgette Heyer, the British author of historical romance set around the time Austen lived,[3] as well as detective fiction. Heyer's first romance novel, The Black Moth (1921), was set in 1751.

The British company Mills & Boon began releasing romance novels for women in the 1930s. Their books were sold in North America by Harlequin Enterprises Ltd,[4] which began direct marketing to readers and allowing mass-market merchandisers to carry the books.

An early American example of a mass-market romance was Kathleen E. Woodiwiss' The Flame and the Flower (1972), published by Avon Books.[5] This was the first single-title romance novel to be published as an original paperback in the US.[5] Nancy Coffey was the senior editor who negotiated a multi-book deal with Woodiwiss.[5] In the UK, the romance genre was long established through the works of prolific author, Georgette Heyer,[6][7] which contain many tropes and stereotypes, some of which, have recently been edited out of some of her novels.[8] In the 1950s emerging bestselling British romance writers included Catherine Cookson,[9] followed in the 1980s, by Marion Chesney (pen name M.C. Beaton), who was known more widely for her detective series featuring Hamish MacBeth and Agatha Raisin.[10]

Strong sales of popular romance novels[11] make this the largest segment of the global book market.[12] The genre boomed in the 1980s, with the addition of many different categories of romance and an increased number of single-title romances, but popular authors started pushing the boundaries of both the genre and plot, as well as creating more contemporary characters.

Women will pick up a romance novel knowing what to expect, and this foreknowledge of the reader is very important. When the hero and heroine meet and fall in love, maybe they don't know they're in love but the reader does. Then a conflict will draw them apart, but you know in the end they'll be back together, and preferably married or planning to be by page 192.

According to the Romance Writers of America, the main plot of a mass-market romance novel must revolve about the two people as they develop romantic love for each other and work to build a relationship. Both the conflict and the climax of the novel should be directly related to that core theme of developing a romantic relationship, although the novel can also contain subplots that do not specifically relate to the main characters' romantic love. Furthermore, a romance novel must have an "emotionally satisfying and optimistic ending."

Others, including Leslie Gelbman, a president of Berkley Books, define the genre more simply, stating only that a romance must make the "romantic relationship between the hero and the heroine ... the core of the book."[15] In general, romance novels reward characters who are good people and penalize those who are evil, and a couple who fights for and believes in their relationship will likely be rewarded with unconditional love.[1] Bestselling author Nora Roberts sums up the genre, saying: "The books are about the celebration of falling in love and emotion and commitment, and all of those things we really want."[16] Women's fiction (including "chick lit") is not directly a subcategory of the romance novel genre, because in women's fiction the heroine's relationship with her family or friends may be as important as her relationship with the hero.[15]

There is a lot of controversy among romance authors about what should and should not be included in plots of romance novels. Some romance novel authors and readers believe the genre has additional restrictions, from plot considerations (such as the protagonists' meeting early on in the story), to avoiding themes (such as adultery). Other disagreements have centered on the firm requirement for a happy ending; some readers admit stories without a happy ending, if the focus of the story is on the romantic love between the two main characters (e.g., Romeo and Juliet). While the majority of romance novels meet the stricter criteria, there are also many books widely considered to be romance novels that deviate from these rules. The Romance Writers of America's definition of romance novels includes only the focus on a developing romantic relationship and an optimistic ending.[17][18] Escapism is important; an Avon executive observed that "The phone never rings, the baby never cries and the rent's never overdue in romances."[13] There are many publishers, libraries, bookstores, and literary critics who continue to go by the traditional definition of romance to categorize books.[19][20]

A romance novel can be set in any time period and in any location. In recent years, romance novels have even expanded into the galaxy. There are no specific restrictions on what can or cannot be included in a romance novel.[1] Even controversial subjects are addressed in romance novels, including topics such as date rape, domestic violence, addiction, and disability.[21] The combination of time frame, location, and plot elements does, however, help a novel to fit into one of several romance subgenres.[1] Despite the numerous possibilities this framework allows, many people in the mainstream press claim that "all [romance novels] seem to read alike."[22] Stereotypes of the romance genre abound. For instance, some believe that all romance novels are similar to those of Danielle Steel, featuring rich, glamorous people traveling to exotic locations.[23] Many romance readers disagree that Steel writes romance at all, considering her novels more mainstream fiction.[24]

Mass-market or formulaic romance novels are sometimes referred to as "smut" or female pornography,[25][26] and are the most popular form of modern erotica for women.[27] While some romance novels do contain more erotic acts, in other romance novels the characters do no more than kiss chastely. The romance genre runs the spectrum between these two extremes.[28] Because women buy 90% of all romance novels,[27] most romance novels are told from a woman's viewpoint, in either first or third person.

Although most romance novels are about heterosexual pairings, there are romance novels that deal with same-sex relationships, and some participants in the book industry characterize books dealing with same-sex relationships as F/F,[29] and M/M.[30]

Many famous literary fiction romance novels end tragically.[20][1] Examples include: Wuthering Heights by Emily Bront, Anna Karenina by Leo Tolstoy, The Thorn Birds by Colleen McCullough, Norwegian Wood by Haruki Murakami, Atonement by Ian McEwan, and The Song of Achilles by Madeline Miller.[19][20]

The genre of works of extended prose fiction dealing with romantic love existed in classical Greece.[2] The titles of over twenty such ancient Greek romance novels are known, but most of them have only survived in an incomplete, fragmentary form.[2] Only five ancient Greek romance novels have survived to the present day in a state of near-completion: Chareas and Callirhoe, Leucippe and Clitophon, Daphnis and Chloe, The Ephesian Tale, and The Ethiopian Tale.[2]

Precursors of the modern popular love-romance can also be found in the sentimental novel Pamela, or Virtue Rewarded, by Samuel Richardson, published in 1740. Pamela was the first popular novel to be based on a courtship as told from the perspective of the heroine. Unlike many of the novels of the time, Pamela had a happy ending, when after Mr. B attempts unsuccessfully to seduce and rape Pamela multiple times, he eventually rewards her virtue by sincerely proposing an equitable marriage to her. The book was one of the first bestsellers, with five editions printed in the first eleven months of release.[31] Richardson began writing Pamela as a book of letter templates. Richardson accepted the request, but only if the letters had a moral purpose. As Richardson was writing the series of letters turned into a story.[32] Writing in a new form, the novel, Richardson attempted to both instruct and entertain. Richardson wrote Pamela as a conduct book, a sort of manual which codified social and domestic behavior of men, women, and servants, as well as a narrative in order to provide a more morally concerned literature option for young audiences. This conduct book genre has a long history.

Jane Austen is an important influence on romance genre fiction, and Pride and Prejudice, published in 1813, has been called "the best romance novel ever written."[33] In the early part of the Victorian era, the Bront sisters, like Austen, wrote literary fiction that influenced later popular fiction. Charlotte Bront in Jane Eyre, published in 1847, introduced the orphaned heroine. Bront's love romance incorporates elements of both the gothic novel and Elizabethan drama, and "demonstrate[s] the flexibility of the romance novel form."[34]

While the literary fiction romance continued to develop in the 20th century, the new subgenre of genre fiction, which first developed in the 19th century, started to become more popular after the First World War. In 1919, E. M. Hull's novel The Sheik was published in the United Kingdom. The novel, which became hugely popular, was adapted into a movie (1921), which established star Rudolph Valentino as the top male actor of the time. The hero of this book was an iconic alpha male who kidnapped the heroine and won her admiration through his forceful actions. The novel was one of the first modern works to introduce the rape fantasy, a theme explored in Samuel Richardson's Pamela (1740). Although women were gaining more independence in life, publishers believed that readers would only accept premarital sex in the context of rape. In this novel and those that followed, the rape was depicted as more of a fantasy; the heroine is rarely if ever shown experiencing terror, stress, or trauma as a result.[35]

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