Let it be known: we men must rethink our natural manly instinct that romance novels are something to ignore or avoid, like SEX AND THE CITY 2, which is indeed worthy of scorn, and woe unto any man whose girlfriend or wife coerced them into wasting two hours of their life to see that stupid thing. No bribe is sufficient.
Romance novelists are not only smart and funny, but many can write circles around most writers I know. These women are more talented than many folks writing about serial killers, elves or dinosaurs in spaceships (yes, this is a thing, try the googles) simply because there is so much freaking competition with romance novels.
Are there bad romance novels out there? Sure, just like any genre. But with so many books and writers, it’s like throwing 10,000 authors into the Thunderdome, tossing in a single chainsaw and refusing to unlock the door until there’s only one woman left. That woman is going to kick tail. She will be a writing goddess.
And the message is good. Romance novels don’t want men to be to be office drones, worried about TPS reports, or moody, over-educated basket cases like the men you read about in literary novels.
Romance novels want men of action and charm, packing swords if not guns, and sometimes guns and swords. Any man can learn this from hitting checking out romance novel covers. IT IS AN EDUCATION.
Another bonus: romance is the largest part of the book business, which we need more than ever. If you care about books, literature and ideas instead of whatever is on the glowing tube today about the Kardashian idiots, you want to keep a healthy foundation of romance in the world’s fortress of books.
If we are truly men of action, we should band together, pool our resources and give romance novels serious tax subsidies. I’m not kidding here. Because romance authors and readers are a secret army doing a $16.5 billion public relations campaign for men everywhere. And, yes, the genre is bigger than that. It’s a big push for love of all stripes, which is a good thing, damn it. Life isn’t about having the biggest pile of dead presidents. It’s about family and who you love. As a husband and father, I get that.
So, romance novelists and readers, I am holding a mug of Belgium beer, which I raise your direction. Keep up the good work.
Age cannot wither her, nor custom stale her infinite variety.
You can make a case that YA dystopian fiction was a fad, just like a zombie movies and books were once hotter than the sun but now colder than an icy hand wrapping around your throat at midnight in a graveyard.
There are fads in publishing, just like anything else.
Romance novels, though, are eternal and infinitely varied.
There’s contemporary and historical, futuristic and fantasy, gothic and paranormal, series and suspense, straight and LGBTQ.
Sidenote: I believe a good percentage of romantic suspense novels would get placed on the mystery and thriller shelf if you reversed the genders of the protag and love interest. Switch the genders of my favorite series, the Reacher novels, and bookstores would put those on the romantic suspense section. I own every Reacher novel and they all have a strong romance subplot, with the love interest the most important character aside from Reacher, somebody who gets more time on the page than the disposable villain Reacher will inevitably outsmart before he crushes their bones into powder. The fact that the gender of the protag determines where the book gets placed on the shelves kinda pisses me off.
3) Women rule the book world, yet men dominate book reviews
Women hold 70 to 80 percent of publishing jobs and make up the majority of both literary agents and book buyers.
It’s smart business to pay attention to what people buy, and dumber than dumb to ignore the actual market and what your customers want.
If movie critics ignored 90 percent of action movies and only wrote reviews for black-and-white French existentialist movies, the average movie-goer would be hacked off. I don’t care what industry you talk about. Car reviewers who only write about $240,000 exotic sports cars aren’t really helping their readers, who buying sedans and pickups and minivans.
Book critics and book reviews should reflect what book buyers actually put down money to buy.
4) Romance is a story that needs to be told
Literature—and all stories—is really about what’s worth living for and what’s worth dying for.
War and action movies answer the question of what’s worth dying for.
The best stories about what’s worth dying for show how tough this choice can be. CATCH-22 doesn’t say World War II was a bad war. Clearly, Hitler needed to be stopped. The question Yossarian struggles with is truly this: After the war is basically over, do you really need to risk your life flying more missions that will probably get you killed, or should you save your life by becoming a deserter, shunned by your country but still breathing?
Romance novels are about what’s worth living for.
Who should pick as a partner or spouse, to love and cherish and maybe start a family?
That’s a massive, massive question. You better get it right, because getting it wrong can be the biggest disaster ever.
Romance novels show people struggling to make the right choice. Who should you pick as a partner in love and life?
5) Romance authors, editors and readers are strong where male writers are weak
If you’re a male writer, I’d suggest getting editors, critique partners and beta readers with a romance background.
Every. Single. Time.
Hear me now and believe me later in the week: Romance folks are strong where most male authors are weak. Seek them out. And when you need a professional editor, hire them.
The opposite is also true. I’ve edited novels for a number of female authors, including romance authors writing thrillers (or romantic suspense), and I think we both learned a ton each time. Strengths and weaknesses should be complementary, and you won’t find that with an editor, critique partner or beta buddy who’s a clone of you.
Also: romance authors and readers have the biggest and best-organized communities, online or in person. They have their act together.
Men should push for tax breaks for romance novels. Seriously.
This is my experience: My wife reads everything. She’s a trial attorney and the mayor, basically working two jobs. And sure, we have all kinds of books in our library and all over the house: books on rhetoric, the classics, non-fiction, thrillers, mysteries. Everything. Yet the last thing she or I want to do after a hard day is to read heavy non-fiction or dense, depressing lit-rah-sure, which on weeknights makes me feel like I have to pull an all-nighter to write a 20-page term paper, and I am done with all that.
Romance novels let her relax. They make her happy, just like reading thrillers makes me relaxed and happy.
Happy wife, happy life.
There’s a reason why if there’s no HFN (Happy For Now) or HEA (Happily Ever After) that it’s not actually a romance novel. Could be a tragic love story, like ROMEO AND JULIET, but not a romance.
The message of romance novels is that despite how hard it can be to pick the right person, and build a strong relationship with them, all of that is worth the effort. That’s why the ending has to be HFN or HEA.
I like that message.
Strike that. I love it.
It’s hopeful, noble and something we all need to hear.
Because in the end, it’s our relationships—not how many digits are in your bank account, or how fancy your car and house is—that really matter in life.
P.S. As a bonus, check out this great infographic from PBS. My only quibbles: at the end, they give FIFTY SHADES OF GREY and the e-book trend too much space, though this was back when that book was huge and e-books seemed like the future. Now, readers are pushing back for more physical books. Because hey, there’s nothing like the smell and feel of a read hardcover.
Readers and writers need each other, and we won’t connect when there are thick, artificial walls and book covers so filled with testosterone – or estrogen – that you may as well nail up signs that say “NO GIRLS ALLOWED” or “RUN AWAY, MEN, FOR YOU ARE UNWELCOME.”
I don’t want fiction so segmented that it becomes little fiefdoms, or ghettos, with this section for men, this one for women, little kids here, gay literature over there, big kids there, lesbians here, left-handed straight white guys here and right-handed women who are into quilting and cats in this corner. I read whatever Dan Savage and David Sedaris write, though I’d never have found them if you hidden them in a gay and lesbian corner, which is a bit too near a closet.
Good writing is good writing, period.
Here’s a brief plot summary for a novel. Read it and tell me where it belongs in Barnes and Noble.
Hank is an investigator who solves murders. But he can’t stop a new serial killer, at least not officially. Because that killer is going after the employees of his wife, a prominent businesswoman. This is a case Hank can’t touch and can’t ignore. The killer knows it — and he’s getting ever closer.
All too easy, right? This is pure mystery/thriller. You put it next to Lee Child and James Patterson.
Nope. It’s a romance novel. Some stores might get wild and put it in Romantic Suspense. This is BETRAYAL IN DEATH by J.D. Robb, aka Nora Roberts. All I did was change the genders of the protag and love interest.
The initials Nora Roberts put in her pen name also tell us something. Why do female authors, even crazy famous and insanely successful ones like Nora Roberts and J.K. Rowling, have to hide behind initials?
You could say J.K. Rowling went with initials long before she got famous, out of fear a female author wouldn’t be taken as seriously writing an epic fantasy novel. I blame J.R.R. Tolkien for this trend. (Sidenote: George R.R. Martin, you’re a copycat, but I love you.)
Yet after J.K. Rowling earned enough money to buy her own planet and staff it with Brad Pitt clones, she wrote a non-Harry Potter book … using the pen name Robert Galbraith.
So even the world’s richest author, who just happens to be female, still seems to feel there’s a bias against female authors.
As a writer, a reader and a man, I think that’s sincerely screwed up.
My wife has the World’s Largest Collection of Novels, including 5.92 metric tons of Deep Literature, fantasy, romantic suspense, non-fiction, plain old romance, sci-fi — basically everything. I wrote this post after comparing the backs of her romantic suspense collection to the blurbs on the back covers of my Ginormous Horde of Mysteries and Thrillers and saying hey, these are ALL THE SAME THING.
(Related post: Why every man MUST read a romance — and every woman read a thriller)
Let’s look at two more plot summaries, one for a book that turned into a movie and another for a movie.
A poor and passionate young man falls in love with a rich young woman and gives her a sense of freedom. They soon are separated by their social differences.
Has to be a romance. Even if I switched genders, there’s no other subplot involving a presidential race or a stolen nuclear bomb. Nothing but a love story, straight up.
Nope. Didn’t switch genders or touch this summary at all. Pulled it right from the IMDB page for THE NOTEBOOK by Nicholas Sparks, who says he doesn’t write romances or even love stories. He writes literature, and his stuff belongs next to Hemingway. (Not making that up. Go ahead and google it.) And yeah, they don’t shelve his books in the romance section, because “Duh, he’s a man.”
I’ve met a ton of romance authors from this silly blog, and whether they write historical things involving men in kilts, romantic suspense or wild stuff involving Shapeshifting Dolphin-Men and the Women Who Love Them, they are united behind one core belief: a burning hatred for Nicholas Sparks. (Related post: The Red Pen of Doom guts THE NOTEBOOK)
One last shot, this time a movie:
Vanessa is beautiful, rich — and haunted by the deaths of her parents and her lover, who died during Vanessa’s secret crusade against the criminal empires tearing at the city. Now a recluse, Vanessa is jolted when a charming burglar steals her mother’s pearls while a new villain threatens the entire city. Should she open her heart up to the handsome new member of her board of directors, or should she risk everything by trusting the cunning thief in a risky battle to save the city?
Tough one. Might flip a coin here. Here’s the trailer for this movie, and yeah, all I really did was switch genders and leave out a description of the Batcave.
You might argue these are isolated cases, and that romantic suspense is a very different genre from romance, seeing how the love story is far stronger than what typically passes for a love interest in mysteries and thrillers written by male authors.
That argument is weaker than a half-cup of Folger’s Instant Decaf.
Lee Child is the kings of thrillers today. Every one of his novels has a love interest, typically the biggest character aside from the hero, a strong woman with a badge and a gun who (1) is crucial to helping Reacher beat the bad guys or (2) gets kidnapped along with Reacher, so it’s just the two of them against the idiots who made the fatal mistake of breaking our hero’s folding toothbrush.
Want to get more literary and old school? Take away the relationships and love scenes from the Easy Rawlins books and you’d cut them by two-thirds, making Walter Mosley cry. From reading every book in this series, I can say the heart of it isn’t really solving mysteries or racism back in the day, but the bromance between Easy Rawlins and his deadly best friend, Mouse.
The villains get far less attention. The latest Easy Rawlins novel has a villain showing up in the climax that I barely knew existed, and that was fine, because the real point was connecting Easy with all his friends and family one more time, especially Mouse.
You could argue all those books are written by men, and these other books, well, they’re written by women. And sure, there are women who’ve always written thrillers or mysteries and their work has always gotten shelved in the neighborhood of Lee Child and James Patterson. But not many.
The reverse is also true. There are men writing regular genre love stories novels … but hardly any use their own name, or even initials. They’re using female names.
Online, these walls fall away. Books don’t have to get shelved in only one place – you can tag them in all kinds of categories. However, I’m one of those people who likes to go to actual Stores of Books, and hold them in my hand, and buy them using pieces of paper decorated with dead presidents. Call me crazy.
There is a benefit to a few walls. There’s no point in throwing everything together and making people search for books alphabetically.
I’m saying it’s possible to go too far in the other direction, and to miss out on broader readership by making tinier and tinier niche markets, year after year, with only a few books by big-name authors marketed to everybody. Keep this up and we’ll have one tiny shelf labeled MAINSTREAM and it’ll all be authors who’ve figured out they’re so big now, they don’t even have to write the novels, because they can put their name in big letters, the co-author in little print and let the checks come in the mail. Hey, it’s not a bad gig, if you can get it, and these authors worked hard. James Patterson is a master of co-writing a zillion books and you can tell he works hard with co-authors so each book is in his signature style.
What’s crazy is how far this trend has gone, seeing how an author being dead isn’t a barrier anymore. Books by Tom Clancy and Robert Ludlum will keep haunting prime real estate of bookstores as long as lesser names are willing to cash the lesser checks.
It’s like Hollywood sequels made long after the original director and star died. Even if the book or movie is great — and Eric van Lustbader is a far better writer than Ludlum — it still feels weird. All those Tom Clancy books that Tom Clancy never wrote will, for years and years, take up a crazy amount of prime real estate at book stores. And that’s what I’m really talking about here: real estate at book stores, which is getting so Balkanized, the Balkans are going to sue for copyright infringement.
Break the mold, then set it on fire
“We’ve always done it this way” is a bad strategy. If you study breakout hits in any medium, they don’t stick to the mold. They pick that mold up, break it and set it on fire.
The first Harry Potter book was clearly aimed at kids. Look at the cover. And sure, 12-year-old boys buy books, and they see a lot of movies, and yes, Michael Bay has made 6.2 bazillion dollars with endless TRANSFORMER movies based on this demographic alone. Yet it wasn’t just 12-year-old boys who bought all those Harry Potter books.
People actually pay more attention to something out of the ordinary, as long as you don’t try to keep it caged up in its own little demographic closet.
It’s not true that men only want to read books, written by men, about young, perfect tough guys who are 6’4 billionaires. Who’s the most popular character on GAME OF THRONES, among men and women and whoever? This guy. BECAUSE HE’S AWESOME.
On paper, Peter Dinklage should get nowhere in Hollywood, while all the tall, young actors with chiseled abs should skyrocket into fame every time they’re cast into the latest action movie that costs $300 million and still bombs. Dinklage, Brian Cranston and the rest of the cast of Breaking Bad prove that actors don’t just have to look like Abercrombie and Fitch models to make it. Acting skills kinda matter.
Mike from Breaking Bad is an old man, but he’s far tougher, and more interesting to watch, than 99 percent of the perfect 20-something actors who get asked to carry movies like TRANSFORMERS 15: OPTIMUS PRIME GETS AN OIL CHANGE.
Find a wrecking ball
These days, publishers and booksellers are doing plenty of other demolition work. Every time a novel becomes a hit movie, teams of carpenters show up at Barnes and Noble to create a new section for this new genre that isn’t really new:
Young Adult Fantasy (HARRY POTTER clones)
Young Adult Fantasy Romance (Hey, TWILIGHT made a bazillion dollars, why not us?)
Young Adult Dystopian Craziness (HUNGER GAMES, DIVERGENT)
Next month, it’ll be Young Adult Zombie Dystopian Coming of Age Stories in Stick Figure Graphic Novel Form, (DIARY OF A WIMPY KID meets WORLD WAR Z)
Blake Snyder was onto something with his SAVE THE CAT books, where he smashed the myth that story and genre is about setting (westerns are in the Old West! Sci-fi happens in space!). Doesn’t matter whether your protag with a badge and gun wears pants or a skirt – it’s a mystery/thriller.
Snyder broke down story into what happens and why, and how the story works. In the old, stupid model, JAWS is a horror movie, FATAL ATTRACTION is a domestic drama and ALIEN is a sci-fi film. Wrong. That’s looking at the setting instead of the story.
All three of those movies are a primitive, visceral version of the story he calls Monster in the House, which is one of the oldest tales ever. There’s a monster in the house, and either you kill the monster or it kills you.
Eating you is optional. Villain’s choice.
So this is my not-so-plaintive cry, which is different than a plaintiff’s cry, because I’m not suing anybody: I don’t care whether the story was written by a man or a woman, whether the protag is a man or a woman, straight or gay, short or tall, young or old. I don’t give a rip whether the story is set in 18th century London, present-day Seattle or a space station orbiting the seventh moon of Jupiter.
All I care about is whether the story is any damned good.
Thrill me, surprise me, make me laugh.
Bust the locks on some of these literary cages. Unshackle authors and readers from the obsolete expectation that demographics is destiny.