When I began writing The Memory House after a long career writing romance for various lines at Harlequin, I didn’t give the difference between women’s fiction and romance much thought. I had a story to tell about a woman battered by life, a complex story that required more pages than my usual romance novels. After reading my proposal, my agent insisted this new novel was not romance but commercial women’s fiction. This got me looking more closely at the two and why it’s important for us, as authors, to know the differences.
Column by Linda Goodnight, New York Times and USA Today bestseller
who writes novels to touch the heart as well as to entertain. Her stories of hope
have won the RITA , the Carol, the Reviewer’s Choice, and other industry
awards. A small town girl, Linda remains close to her roots, making her home in rural
Oklahoma. Many of her books are about family and children and rightly so,
as she draws her emotional stories from her surroundings, her great love of
family, and from personal experiences as a nurse and teacher. Connect with
her on Twitter. Her latest novel is THE MEMORY HOUSE
(HQN Books, March 2015).
1. Understanding genre allows you to target the proper publisher. Different houses have different requirements. A publisher that buys women’s fiction may not be interested in a pure romance and vice versa.
2. Women’s Fiction and Romance are labeled and shelved differently in book stores, whether online or brick and mortar, and readers shop accordingly. Goodreads, Publishers Weekly, and other reviewers also list by genre.
3. Marketing and promotion for the two genres differ in slant and demographic.
4. Though not a concern as far as selling your book, correct genre is required when entering contests.
5. Women are the major buyers of all novels, and as such are the single most important demographic to publishers and authors. These women bring certain expectations to the bookshelf and want to know what they’ll find within the pages of a novel before they lay down their money. To keep them coming back, we have to make them happy.
Those are just a few reasons why understanding your genre is important. You’ll also see that the way you write each one differs, maybe more than you realize.
A pure romance can be as long or as short as you want it to be but always includes two defining characteristics: a central romantic relationship and a happy-ever-after for the heroine and hero.
In writing my romance novels, I focus on the male/female relationship from start to finish. Love is the premise, the thread that runs from page one to the happy conclusion that brings the couple together forever. Growth of that romantic relationship is the main story arc. Each scene, each conflict and resolution serves primarily to move the heroine and hero closer to commitment.
The confusion between women’s fiction and pure romance sometimes occurs because the above elements of romance and a happy ending may also appear in women’s fiction. Yet, neither is a requirement in that genre.
The Memory House falls into this category. I chose to include a love interest for my heroine, but unlike my romance novels, love is not the thread that guides the story from beginning to end. Julia’s personal growth, her decision to grab life and rise above the darkness of a tragedy is the primary story arc.
This personal growth, then, whether it leads to a happy ending or not, is a major difference to keep in mind when determining if you’re writing romance or women’s fiction.
Another thing to consider is your lead character. Women’s fiction almost always belongs to the female. The male point of view can be included, but the issues, and thus the story, belong to the female. Conversely, in my romance novels, the hero is often my lead character or at least shares the lead with the heroine. His struggle, as much or sometimes more than that of the heroine, drives the narrative. For those who read romances forty years ago, that change is a recent advent. In today’s women’s’ fiction, the journey belongs to the female, be it toward self-discovery or coming to terms with life’s issues the way Julia must do. Her emotional development is what matters, and it’s this journey the women’s fiction reader is most interested in.
Like romance, women’s fiction is about relationships, but here the relationship may be among friends, sisters, mothers, daughters, co-workers and others rather than being purely romantic in nature. Julia’s relationships with other characters, as well as with the hero, help tell her story and give her the strength to rise above her brokenness.
Finally, women’s fiction, whether contemporary or historical, is more issue driven. These books may realistically wrestle with alcoholism, abuse, family dysfunction, divorce, the struggles inherent in dealing with sickness such as cancer, mental illness, or Alzheimer’s, or any other issues women face.
To recap: A romance novel focuses entirely and completely on the romantic relationship and guarantees a happy ending for the heroine and hero. Women’s fiction focuses on a woman’s journey, wherever that may take her and whatever that may encompass. Though usually emotionally satisfying, a happy ending is not an expectation.
Now, go write your wonderful novel, confident that you know exactly what you’re writing and who your target audience will be.
Check Out These Great Upcoming Writers’ Conferences:
- Oct. 28–30, 2016: Writer’s Digest Novel Writing Conference (Los Angeles, CA)
- Nov. 19, 2016: Las Vegas Writing Workshop (Las Vegas, NV)
- Feb. 11, 2017: Writers Conference of Minnesota (St. Paul, MN)
- Feb. 16–19, 2017: San Francisco Writers Conference (San Francisco, CA)
- Feb. 25, 2017: Atlanta Writing Workshop (Atlanta, GA)
- Feb. 26–March 3, 2017: Writers Winter Escape Cruise (conference/cruise departing Miami)
- March 25, 2017: Michigan Writers Conference (Detroit, MI)
- April 8, 2017: Philadelphia Writing Workshop (Philadelphia, PA)
- May 6, 2017: Seattle Writers Conference (Seattle, WA)
- July 22, 2017: Tennessee Writers Workshop (Nashville, TN)
- Aug. 18–20, 2017: Writer’s Digest Conference (New York, NY)
Agent Donald Maass, who is also an author
himself, is one of the top instructors nationwide
on crafting quality fiction. His recent guide,
The Fire in Fiction, shows how to compose
a novel that will get agents/editors to keep reading.
Other writing/publishing articles & links for you:
- 3 Things To Set You On The Path To Publishing Success.
- Method Writing For Historical Fiction Writers.
- Agent Spotlight: Christopher Rhodes (James Fitzgerald Agency) seeks YA, Fiction and Nonfiction.
- The Best Piece Of Writing Advice I Got– And The Worst.
- Follow Chuck Sambuchino on Twitter or find him on Facebook. Learn all about his writing guides on how to get published, how to find a literary agent, and writing a query letter.
Your new complete and updated instructional guide
to finding an agent is finally here: The 2015 book
GET A LITERARY AGENT shares advice from more
than 110 literary agents who share advice on querying,
craft, the submission process, researching agents, and
much more. Filled with all the advice you’ll ever need to
find an agent, this resource makes a great partner book to
the agent database, Guide to Literary Agents.