The Power of the HEA

Every now and again, a new round of shots is fired over social media, or in the genre press, around whether or not romance novels need happy endings - and whether bestsellers like Nicholas Sparks’ The Horse Whisperer is - or isn’t - a romance. 

    I’ve even read long, detailed posts arguing similarly in favour of Romeo & Juliet, and Titanic (spoiler: these aren't romances either). What about Me Before You, The Notebook, and One Day? I’ll settle this for anyone who wants to know right now: None of these are romances. They’re all beautifully written stories with romantic elements, but they’re not romances. 

Why Not?

They can’t be romances, because there’s no happy ending for the main protagonists - and this is the defining feature of our genre.

Why are stories where one or both lead romantic characters don’t make it not actually romances?

Well, partly because death isn’t particularly romantic – and dying for love isn’t either, despite what the poets claim.

    I do think it’s more than that though. Romances are character journeys of the heart. The connection between the central lovers is a kind of third character in and of itself. Each protagonist grows towards this connected future and their relationship – that is to say, the love they share with each other – evolves accordingly.

    This can’t happen if one of them dies, or doesn’t stay, or goes back to an old flame in the end – that is to say, the romance can’t succeed without the happily ever after. If a story ends without a successful romance, it’s not a romance, in romance genre terms.

But does romance fiction have to conform with ‘a’ generic convention?

Generic fiction conventions represent the unspoken contracts between the genre author and our readers. 

    If you pick out a science fiction novel, you can expect a story set off-world, and/or around advanced technology (like time travel) or alien species not found in your day-to-day reality. Fantasy novels create an expectation for weird, wild and wonderful creatures, incredible powers and potions and spells. Perhaps a little darkness, and epic battles between the powers of light and dark.

    These tales have been popular since ancient worlds - and people – first existed. In fact, they’re so pervasive and so popular that many historical cultures live on in the fictional worlds created by more modern writers decades later. These are the expectations of readers who enjoy those genres - and so it is with romance novels.

    Readers open their romance novels ready to meet and greet at least a couple of soon-to-be lovers. They read towards their happy ending with open hearts and (hopefully) enjoyable page turning. They trust their favourite authors to lead them to a happily ever after or happily-for-now conclusion, and as a romance author I take my commitment to my readers seriously. 

    I write historical romance novels, so I tend to leave my couple together for as long as they last.  I know, as an avid historical researcher, that people rarely lived past 50 years in the 1800s, but that’s no reason to break my readers’ hearts over it! If you read historical romances too, you likely already know this was the reality - but it’s not likely to be the reason you reached for The King’s Mistress, or my latest for 2024, Stand & Deliver.

Romance readers want the journey I promise from my cover; to be swept away to a place where love wins out, where heroes and heroines conquer their baser selves - rise above their petty, their egos, and their fears - to embrace a stronger version of who they are. My readers want the best version of my best characters to deserve the love they’re longing for – and they want them to reach it. They don’t just want my protagonists to succeed. They want their love to succeed too.

Love Wins

That’s what’s inspiring about reading romance novels – the successful pursuit and attainment of a love that lasts. I personally do believe love can empower anyone to anything - and I won’t let my reader’s heart end up on the floor. I promise a real romance.