Where Did All This Romance Stuff Begin?

Introduction

Romance novels have been captivating readers for centuries—but where did it all begin, and how does a modern-day writer like me fit into that lineage? In this piece, I’ll explore the roots of romance fiction, unpack the lingo, and reflect on how genre, trope, and character shaped my debut manuscript—sometimes without me even realizing it.

A Brief History of Romance

Daphnis and Chloe can claim to be the first romance novel. Written in the late second century A.D. by the ancient Greek writer Longus, the story revolves around two young lovers growing up together, unaware of their feelings and heritage. It's an early example of emotional development and romantic conflict—tropes still alive today.

Jump ahead to the 18th century, and you’ll find two immensely popular novels by Samuel Richardson: Pamela; or Virtue Rewarded (1740) and Clarissa: or The History of a Young Lady (1748). Both novels dealt with themes of virtue, morality, and societal expectations—elements that continue to echo in today’s romance novels, albeit with a modern twist.

Fast forward to 1972, when Avon Books published The Flame and the Flower by Kathleen Woodiwiss—a hefty historical romance that traded chastity for steamy sex scenes. Arriving in the thick of the sexual revolution, the book became an instant bestseller and is often credited with birthing the modern romance genre. Avon published it in paperback, after multiple hardback rejections. By 1977, it had sold over 2.5 million copies (Goodreads).

Avon repeated that success with Sweet Savage Love in 1974. Together, these two titles kickstarted the quick and furious production of the paperback romances we know today.

Early romance novels were sold at grocery stores and drugstores—places where women shopped. They were by women, for women, and about women. Initially, these were large historical romances, followed by slimmer titles published in sequence.

So What Exactly Is a Romance Novel?

Romance novels are built on two key principles:
1. A central love story.
2. An emotionally satisfying, optimistic ending.

Within that framework, there’s room for endless variation in tone, setting, and style. The genre spans subgenres defined by timeframe, plot elements, and location—from historical to contemporary to fantasy.

But what does this mean to a debut author like me?

The Lingo: Genre, Subgenre, and Tropes

Let’s do some quick housekeeping.

Think of the word genre as a broad umbrella. Many types of books live under it—sharing similar structures, themes, and characters. Across the literary spectrum, genres include thriller, mystery, horror, and, of course, romance. Within these are subgenres that further define the story—like contemporary romance, historical romance, or romantic comedy.

And then there are tropes—recurring themes or storytelling devices that help shape a narrative. They're not specific to one genre but appear everywhere. In romance, popular tropes include friends to lovers, enemies to lovers, and second chance romance. Think of tropes as the ingredients that give each love story its unique flavor.

To put this in perspective, consider that ancient Greek theater had just two genres: tragedy and comedy. Today, we have dozens—with endless subgenres and mashups. Take “Romantasy” (romantic fantasy) or sci-fi romance. Genre-blending is more common than ever.

My Writing Journey: A Genre Without Borders

Before I began writing my debut manuscript, I made one firm decision: my two protagonists would be professionals—a forensic accountant and a professional soccer player. I didn’t want their careers to serve only as filler or answer the “what do they do?” question. I wanted their jobs to create conflict—through out-of-sync schedules, travel demands, or workplace tensions. As their romantic connection grows, these tensions intensify, helping create necessary story structure and emotional stakes.

But here’s the thing: I didn’t start with a specific trope in mind. I didn’t even research tropes or subgenres before writing. I simply let the story unfold. In hindsight, several tropes organically emerged.

Tropes in My Manuscript

- Friends to Lovers: They start as friends before romance blooms.
- Athlete & Fan (Variation): The relationship comes first; one character becomes a fan of the sport later.
- Different Worlds: Forensic accountant meets soccer star—cue contrasting lifestyles and emotional friction.
- Fish Out of Water: Each character has to navigate the other’s world and its challenges.
- Coffee Shop Romance: They first meet over coffee—a cozy, casual setting that allows for slow-burn development.

I now see how these tropes subtly influenced the manuscript’s structure and tone. Tropes aren’t limiting—they create a familiar foundation for readers while allowing plenty of creative freedom.

Lessons I’ve Learned as a Debut Romance Author

Here’s what I’ve learned so far:

- Don’t stress about tropes at the start. Let the story guide you. The tropes will reveal themselves naturally.
- Give your characters meaningful careers. Their jobs shouldn’t be accessories—they should shape conflict, pacing, and personality.
- Genre helps you, not limits you. It provides guidance on structure and reader expectations—but you can still play.
- Settings matter. A simple location, like a coffee shop, can become a subtle storytelling tool.

Why Categories, Genres, and Subgenres Matter

Now that I’m finishing my first manuscript, all this terminology—category, genre, subgenre—makes more sense.

Here’s a quick breakdown:

- Category = fiction or nonfiction
- Genre (niche) = romance, self-help, fantasy, etc.
- Subgenre (more niche) = contemporary romance, romantic suspense, health and wellness, etc.

These labels help authors find agents and publishers. Once published, they help readers find the books they want, and bookstores know where to shelve them.

Parallel to Music

The publishing world isn't the only industry that uses categories and subgenres.

In music:
- Category: Popular music
- Genre: Rock
- Subgenre: Metal

Or:
- Category: Folk music
- Genre: Bluegrass
- Subgenre: Traditional

Just like in books, this classification helps musicians describe their sound, reach the right audience, and connect with reps.

Looking Ahead

I know how the story ends (an emotionally satisfying, optimistic conclusion—aka “Happily Ever After”). ✓
I have my two protagonists. ✓
Each is defined in part by their professions. ✓
They meet by accident, become friends, and develop a love story. ✓

I’m not sure what approach Richardson or Woodiwiss took when they began their novels. Maybe mine borders on a genre mashup. Still, as I wrap up this story, I already have an idea for the next one—featuring a fish market owner and a steel walker.

One Reason People Read Romance

There's a story about a celebrity, you know, someone who is known for being known. They were having issues with a relationship. Nothing like life or death. But troubles just the same. The kind most us can relate too.

They followed the traditional prescription for easing their troubles. They talked to friends, but most were too shy to tell the truth. Their parents were next. But all they got was coddling and handkerchiefs. Their church urged them to pray but praying didn't change the situation. Letters to online syndicated columnists followed, only to receive the generic form letter in response. Finally, a psychologist visit was scheduled. Serious money was paid out without the commensurate feelings coming in.

On what was to be their last visit, they noticed a paperback book in the waiting room. With a few minutes to spare they began reading. Their session was cut short.

For some reason, when we read about another relationship with similar problems to ours, it's cathartic. You get honest takes because the characters in a romance story could care less what you think. They’ve got their own issues to solve.

If you find solace or solution in reading, then maybe you can resolve your issue without anyone even knowing you had one in the first place. For the price of a book, it's cheap therapy.

And like people, these protagonist’s challenges are represented in a variety of genres and situations. And that variety continues to grow and refine.

In some ways, romance novels can be considered the pop music of writing. Liked by many, quoted often with a feeling that the stories somehow relate to your life. Once this linkage is established, your situation gains legitimacy. At this point you begin, often subconsciously, to look for solutions in how the characters resolved what can only be described as shared feelings.

Romance novels are about relationships. And most people have relationships. And just as the novel has characters meet, go through conflict and resolve their issues, real life has a similar pattern.

Often times we feel our troubles are unique. We believe no one can empathize. Until we discover that we're not the only ones. And suddenly our non-unique troubles gain validity.

Why Men Don’t Read Romance Novels as Much as Women

If you’re sitting at a bus stop, you might see one. Stroll the aisles of a bookstore and you’ll notice plenty of them – romance books in women’s hands. Women love to read romance. And they have for some time. A visit to the Romance Writers of America site shows that women represent about 85% of the romance market. And their age is now in the 18–42-year range with women consuming books at a rate of about 1 per week. And if you give them a choice between digital and physical, they prefer the feel of paper.

But why?

I think we need to go back to the beginning.

You could start with a quote by Jordan Petersen, a Canadian psychologist, author, and media commentator – “Women are more interested in people, men are more interested in things”. Let’s break that down.

Boys show an interest in stories that emphasize action, competition, or mastery (adventure, sci-fi, thrillers), while girls are more encouraged to explore emotions, relationships, and introspection – relationship-oriented traits – something that boys tend not to be good at.

This early socialization contributes to different literary tastes. As boys grow up they tend to stray further away from these “women’s books”. They are intimidated by the possibility of ridicule if they’re seen with one of those books with the evolving cover design – from the “floating heads” of the 1970’s, to the ‘80’s “clinch cover”; then the Fabio Lanzoni covers of the 80’s and 90’s, to the images of real models from 2000-2010’s, to today’s simplified, illustrated covers with cartoon-like characters and bright colors. And if you’re lucky, you might spot a cover designed by 831 Stories (Erica Cerulo and Claire Mazur) – color-blocked with different hues for each cover.

So of course, the next question might be why has society in general and the book publishing industry specifically targeted woman as the primary personality type for romance novels? Here’s some ideas that might explain how we got here:

Historical Basis

The modern romance novel traces its roots to 18th and 19th-century sentimental and gothic fiction, where emotional depth and domestic life were central.

Authors like Jane Austen and the Brontë sisters wrote from a female perspective about love, societal expectations, and marriage—topics that resonated strongly with women of their time.

Know the Market

In the 20th century, publishers like Harlequin and Mills & Boon used aggressive marketing to target housewives and working women who wanted affordable, escapist entertainment. They distributed books at grocery stores, pharmacies, and train stations—places frequented by women.

By the 1970s-80s, with the rise of feminist movements, publishers packaged romance as both escapism and empowerment, focusing on heroines who gained agency through love or career.

Personality and Emotional Appeal

Marketing studies (and informal stereotypes) suggested women tend to be more emotionally expressive and relationally focused—traits marketers assumed aligned well with romantic plots.

Romance novels emphasize character psychology, emotional tension, and interpersonal transformation, which often fits the "Feeling" preference of Carl Jung’s 4 principal psychological functions (1921) and the Myers-Briggs System (1944)—a trait more often associated with women, rightly or wrongly.

Consumer Data and Self-Reinforcement

Women buy 80–90% of all romance novels, creating a self-reinforcing cycle. Because women dominate the market, more content is made to appeal to them.

Publishers look at sales, not ideal demographics. If women are buying, the content continues to evolve around that audience.

Gender Norms

Men have historically been discouraged (socially) from reading or publicly enjoying emotionally vulnerable narratives.

Romance is often unfairly labeled as “feminine,” “less serious,” or “fluff,” reinforcing a gendered divide in what types of stories are "acceptable" for men to read.

The romance genre didn’t intentionally exclude men, but it grew in response to what publishers perceived women wanted—and were buying. Over time, this solidified a feedback loop: women were targeted, they bought the books, so more books were made for them.

But with indie publishing, LGBTQ+ romance, male and nonbinary romance authors, and social media communities (like BookTok and AO3), the genre is gradually becoming more inclusive—both in characters and readership.

What does this mean to the evolving landscape of romance novels?

Male Readership

Increased Male Engagement: A 2025 survey by Talker Research revealed that 63% of male respondents identified as "die-hard" romance enthusiasts, surpassing the 60% of female respondents who felt the same. Additionally, men reported spending an average of 364 hours annually reading romance, compared to 312 hours for women. talkerresearch.com+1New York Post+1New York Post

Historical Context: In 2008, the Romance Writers of America (RWA) reported that men comprised only 10% of romance fiction book buyers. By 2014, this figure had risen to approximately 16%. Sites@Duke Express

Audiobook Consumption: Men account for about one-third of erotic audiobook downloads, suggesting a preference for audio formats within the male demographic. Esquire

Gender-Neutral Marketing

To broaden their appeal, publishers and authors are adopting gender-neutral marketing strategies:

Inclusive Cover Designs: There's a noticeable shift from traditional covers featuring clinching couples to more abstract or symbolic imagery, aiming to attract a diverse readership. Time

Neutral Language: Marketing materials increasingly use inclusive language, avoiding gender-specific terms to appeal to all readers.

Highlighting Universal Themes: Promotions focus on universal themes like love, personal growth, and emotional resilience, rather than gender-specific narratives.

Several publishers have launched initiatives to diversify their offerings:

Harlequin's Kimani Press: Established to publish stories featuring African-American protagonists, Kimani Press has been instrumental in bringing diverse narratives to the forefront. Wikipedia

Entangled Publishing's New Imprints: In 2025, Entangled Publishing announced two new Young Adult imprints—Mischief Books and Mayhem Books—aimed at providing age-appropriate and diverse content for teens. People.com

The literature of the romance genre will continue to evolve and change with increasing male readership, gender-neutral marketing approaches, and concerted efforts by publishers to diversify their offerings. These changes reflect a broader move towards inclusivity, ensuring that romance stories resonate with a wider, more diverse audience.

Jenn McKinlay, New York Times bestselling and award-winning author of numerous mystery and romance novels, comments on the sentiments behind romance and the importance of romance novels.

“Romance is about a character learning to love themselves. The romance is between the character and themselves, and they just finally meet someone who is a lens they can see themselves through,” McKinlay said. “People are finally catching on. It’s not a guy swooping in like Prince Charming, it’s someone coming in who gets you, sees you and helps you see yourself.”

Which brings us full circle to the bus stop. Tomorrow you may see more people with earplugs listening to romance audiobooks, an increased number of books in the hands of men and cover designs you don’t recognize (thank you 831 Stories). Maybe this is a disruption in the romance genre. Maybe it’s a reflection of the world we live in. Or maybe it’s men becoming more confident in their own skin. Regardless, the next time you stroll the aisles of a bookstore, take a look at the romance section. Be careful, it might have moved to another place in the store in search of more space.

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