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I’ve been going pretty hard in the paint on writer-focused things that deal with business and mindset.

And while that’s the goal of this podcast, every now and then, we need a bit of a break from all the seriousness. So I decided to gonna talk about a timeline favorite. 

HEA DISK-HORSE

As an editor of romance novels and a romance author myself, I feel like I have the experience and knowledge to weigh in on this topic in hopes that we can finally dead it forever. Okay, maybe it’s a little presumptuous of me to think I have that kind of power, I know, but I’m nothing if not ambitious. 

Before we venture into this discussion, I want to start with my opinion: romance requires a central love story and a HEA/HFN. Those are the publishing guidelines for the genre. However, since this debate continues to surface online, I will discuss how HEAs transcend mere narrative satisfaction, reflecting deeper psychological needs and societal norms to illuminate the enduring appeal of HEAs but also highlight how contemporary trends and diverse voices are reshaping the romance genre. By understanding the conventions, reader expectations, and the varied romance subgenres, we can appreciate the HEA not just as an ending, but as a powerful symbol of the universal desire for a joyful resolution in our stories.

Let’s start with some definitions:

This is for the literary fiction majors out there. Regardless of your concentration — be it in English, French, Comparative, classical, modernist, or post-modernist — if you don’t have a concentration in creative writing, publishing, and/or genre fiction, you didn’t learn this in college. We learned theory, criticism, and the broader context in which literature exists. Our education equipped us with a deep understanding of literary works, critical thinking skills, and the ability to engage with texts from multiple perspectives. What we didn’t learn about was how to write or sell a story or anything about the different genre distinctions. Granted, I’m a dinosaur, so these things may have changed over the years, but if it has, I can’t tell by the way y’all keep trying to dead HEAs. 

Too many of you show up in the conversation with your MFAs, bloviating about how romance novels don’t need a happy ending because Romeo & Juliet exists. 

Okay, first of all, that’s a bad example because even Willie Shakes called that a tragedy. It’s literally in the opening lines. 

But more than that, the distinctions between the romance genre, romantic fiction, tragedies, and dramas are nuanced, with each category offering unique narrative frameworks, emotional journeys, and thematic explorations. None of which should be conflated but can be combined. 

Let’s cover some definitions to make things a little be more clear.

Romantic Fiction Characteristics: Romantic fiction includes narratives where romance plays a central or significant role but does not necessarily end with the traditional HEA/HFN of the romance genre. This broader category can encompass various outcomes for the protagonists and may integrate elements of other genres, such as mystery, fantasy, or historical settings.

Differences: While it shares the romance genre's focus on romantic relationships, romantic fiction allows for more diverse endings and thematic explorations, not bound by the genre's convention of an optimistic resolution. It stands apart from tragedies and dramas through its central focus on romantic elements.

Characteristics of Romantic Tragedies: Tragedies delve into themes of human suffering, moral dilemmas, and the downfall of the protagonist(s), often due to a fatal flaw, fate, or societal pressures. The narrative arc in tragedies is designed to evoke pity and fear, culminating in a cathartic experience for the audience.

Differences: Unlike the romance genre and romantic fiction, tragedies do not prioritize romantic love and do not aim for a positive resolution. The focus is on the inevitable decline and the emotional depth of the protagonist's journey, contrasting sharply with the optimistic outlook of romance.

Characteristics of Romantic Dramas: Drama is a broad category that encompasses narratives focused on intense character development and conflict, exploring a wide range of human experiences and emotions. Dramas can end optimistically, pessimistically, or ambiguously, and they often tackle serious themes such as family dynamics, social issues, or personal growth.

Differences: Dramas are not confined to romantic themes or guaranteed positive outcomes, distinguishing them from the romance genre. While they can include romantic elements, the focus is broader, allowing for a wide array of thematic and narrative explorations. Unlike tragedies, dramas do not inherently lead to the protagonist's downfall or focus exclusively on evoking pity and fear.

The romance genre is defined by its focus on romantic love and guaranteed optimistic endings, while romantic fiction broadly encompasses stories with significant romantic elements but without the HEA/HFN constraint. Tragedies focus on downfall and evoke catharsis through themes of suffering and loss, without a central emphasis on romance. Dramas, with their broad narrative scope, explore a wide range of themes and conflicts, including but not limited to romance, and offer diverse resolutions.

Romance Genre Characteristics: The romance genre is defined by stories centered on the development and culmination of romantic relationships between characters, with a strong emphasis on emotional connection, growth, and a satisfyingly optimistic ending. The hallmark of this genre is the Happily Ever After (HEA) or Happy For Now (HFN) conclusion, reinforcing the idea that love triumphs.

Differences: Unlike tragedies, dramas, and romantic fiction,  the romance genre assures a positive outcome for the romantic relationship, focusing on themes of love, commitment, and emotional fulfillment. It differs from broader romantic fiction in its strict adherence to the HEA/HFN requirement.

Importance of Genre Conventions in Romance

Now, why do these elements matter so much? They're like a promise to the reader, a pledge that no matter the twists and turns, love will prevail, and closure will be sweet. They create a playground for authors to delve into the nitty-gritty of love and relationships, exploring every high and low with the freedom to get creative while still sticking to what readers cherish and expect. For the reader, these conventions are like coming home – they’re comforting, familiar, and yet, each story is a new adventure, a fresh take on the journey of love, personal growth, and the emotional depth that defines the romance genre. This expectation is a big part of why people enjoy these stories so much. But if you make a conscious choice to ditch this promise and still sell your book as a romance, you deserve every bit of the smoke you get!

It always amazes me that, while each literary genre has its own set of rules or expectations—like how mysteries have their whodunits, and sci-fi often involves futuristic tech or space exploration — romance is the only genre that catches hell for it.  When a book doesn’t truly fit these romance rules but still tries to market itself as such, it can lead to a mismatch of expectations. It’s like trying to fit a square peg into a round hole; no matter how you push, it won’t quite click. While blending genres can lead to innovative storytelling, when it comes to romance, adhering to its core conventions is key to meeting reader expectations and honoring the genre’s essence.

Now, if the book is the first in the series that follows the same set of characters/couple, and the romance is a subplot that doesn’t get resolved until the last book, that’s acceptable. That still fulfills the promise you made to the reader when you place it in the romance category. Anything else is a letdown. If a story suddenly takes a left turn and misses that HEA mark, it’s not just the story’s flow that’s messed up. It kinda throws off the whole point of reading romance for some people, which is to find a bit of joy and hope.

Plus, if an author keeps flipping the script without a really good reason, it might make readers think twice before picking up their books again. Nobody wants to feel disappointed over and over, right? And if readers start chatting about how an author let them down, it could really shake up an author’s reputation and, yep, even their book sales. Remember how we talked about word of mouth in the last episode about slow and steady growth? This could severely affect that. It could negate all of the hard work you put into writing a book that would have been enjoyable to that same reader if you never made that HEA promise. 

Messing with that can shake up a reader’s faith and enjoyment in a big way. You have to be really careful and make sure that if you’re going to stray from the expected path,do it in a way that still resonates with the emotional journey that readers are all about in romance stories.

Genre Conventions vs. Reader Expectations

Okay, now that we’ve gotten that out of the way, there is one hill I’m willing to die on when it comes to HEA disk horse and that’s the difference between genre conventions and reader expectations. 

Genre conventions are the established norms, characteristics, and structural elements that define a particular literary genre. These conventions include specific themes, settings, character archetypes, plot structures, and narrative techniques that readers and writers commonly associate with that genre. For example, in mystery novels, genre conventions might include a crime to be solved, a detective character, and a series of clues leading to the resolution of the mystery.

Reader expectations, on the other hand, are the anticipations and demands that readers bring to a book based on their previous experiences with the genre. These expectations are shaped by the conventions of the genre but also include personal preferences, emotional desires, and the need for a certain type of experience or satisfaction from reading the book. For instance, in romance novels, readers expect not only the conventions of a central love story and an emotionally satisfying ending but also personal fulfillment, such as feeling uplifted, entertained, or emotionally moved by the story.

To put it simply, you can meet genre conventions without meeting the expectations of each individual reader, but that doesn’t mean you haven’t written a romance. 

I’ve mentioned courses and how-to-write-a- romance workshops before and this is where I think some authors have been led astray. These courses, plot structures, and formulas are meant to be guidelines — frameworks to build your story on. But over the years, this has not only become the lit torch of “romance purists.” I don’t know if they label themselves this way, but that’s the label I’m giving them for lack of a better description. These are the readers who want the meet-cute by chapter three, sex at 60%, a black moment, and marriage and/or babies in the epilogue. This reader is what the industry tends to call a category romance reader. They not only want the HEA they want the path to the HEA to be plotted the same way every time. This is not what all romance readers want. Nor is it the baseline for the genre. 

There are often murmurings about what types of subplots, internal, and external conflicts can be included in the plot. These are the romance readers who don’t want politics, death, sexual assault, disability, racism, LGBTQIA+ issues, or anything they deem too “real” included in their narratives and will argue that including those things makes the book less of a romance. These readers are looking for a particular type of escape. They want the fantasy aspect of what a romance novel can deliver. This also isn’t all romance readers or a baseline for the genre. 

Some readers believe that romances should always depict happy and healthy relationships in the central love story and that all characters should be redeemable in some way. They struggle with dark romances because those relationships don’t fit that requirement for them. These aren’t all romance readers either!

I guess what I’m trying to say here is, romance is a broad enough genre where people can find the exact type of story they want to read without forcing additional rules on how those stories should be told. 

Outside of the two genre conventions, that is…

Wait, I thought I was done, but I have another point to make. 

This doesn’t necessarily fall under HEA discourse. It’s about tropes. Y’all can argue about what tropes you love and hate, but my what we ain’t gon’ do is pretend like those tropes are meant to be the whole story. 

Tropes are not a plot. 

Tropes are meant to be tools or devices that serve to advance the plot or develop the characters in a story. They are recognizable elements, like the "enemies to lovers" or the "secret billionaire," that readers anticipate in certain genres, including romance. But here’s the thing: tropes are not the plot itself. They’re ingredients in the recipe that make up a story but not the full meal..

In romances, the plot often revolves around the character arcs, the emotional growth, and the journey the characters undergo to overcome obstacles in their relationship. The plot is about how these characters evolve individually and together, how they confront their internal conflicts, and how these changes lead them to their Happily Ever After or Happy For Now ending. 

So, while tropes can set the stage or provide a framework for the romance, the real meat of the plot is in the character arc. That’s where you find their personal discoveries and emotional developments and where they build a deep, meaningful connections. It’s these elements that create a compelling, plot-driven narrative in romance, proving that the genre is not just about following a set of tropes but about crafting a story that resonates with readers on a deeper, more personal level.

So now, let me tackle into some questions I see floating around when this discussion arises: 

1. Can a romance novel be satisfying without an HEA? 

No, friend. Because it wouldn't be a romance novel. Could it be a satisfying tragedy, drama or piece of romantic fiction? Yes. A satisfying romance? No. We need that HEA and HFN.

2. Don’t HEAs make romances formulaic? Well, I’m not gonna tell the lie that others often tell. There are some formulaic romances out there. However, this doesn't mean that every romance is written that way or that the journey to the HEA can't be complex or nuanced. The most engaging romance novels often feature rich, multi-dimensional characters and plot twists that keep readers guessing, but ultimately, they deliver on the promise of an HEA. This expectation is so strong that books without an HEA are often categorized differently, such as love stories or women's fiction, to set the right expectations for readers.

Adhering to genre conventions isn't about being formulaic; it's about fulfilling the emotional contract with the reader. That's why the absence of an HEA in a romance novel can lead to disappointment, as it defies the fundamental genre conventions that define a romance novel.

3. How do subgenres within romance handle the concept of HEAs differently?

Each romance subgenre is an opportunity to offers a unique twist on the HEA!

Take historical romance, for example. These stories often wrap up with not just an HEA but a grand, sweeping gesture that cements the couple's future, reflecting the era's emphasis on legacy and lineage. It’s like they're saying, "Not only are we in love, but we’re also going to build a dynasty!"

Then you've got romantic suspense, where the HEA comes with a side of adrenaline. The couple might face life-threatening danger, but their love survives the chaos, leading to a deeply satisfying conclusion where safety and love intertwine.

Cntemporary romance, on the other hand, often delivers a more relatable HEA. It’s like, “Hey, we might have jobs and bills to pay, but we’ve found love in a hopeless place.” It feels grounded, real, and achievable.

Paranormal romance throws in some fantastic elements. The HEA here might involve not just overcoming personal or emotional obstacles but also battling supernatural forces. So, the couple’s love isn’t just triumphant; it’s epic, spanning different realms or realities.

So, while every romance subgenre promises an HEA, the path they take to get there can be wildly different, reflecting the unique flavors and expectations of each subgenre. It’s all about how they wrap up that journey to a satisfying, love-conquers-all finale.

4. Are reader expectations regarding HEAs changing?

I wouldn’t say their expectations are changing, but they are evolving and it's a fascinating shift to observe. You know, back in the day, an HEA in romance was pretty much a straightforward affair: the straight, white, able-bodied couple gets together, overcomes the odds, and rides off into the sunset. But nowadays, readers are craving more diversity and complexity in their romance narratives.

People are looking for stories that reflect a wide array of experiences in real life. This means they’re enjoying HEAs that aren't just about the romantic elements but also encompass personal growth, self-discovery, and even community or family reconciliation. It’s like, the HEA needs to be satisfying on multiple levels, not just confirming that the couple ends up together.

Also, there's a growing appetite for different kinds of relationships and relationship dynamics. We're seeing a rise in popularity for romances that feature LGBTQIA+ characters, polyamorous relationships, or non-traditional relationships, which all challenge the one-man-one-woman expectation previously held by the powers that wrote relationships in the olden days. Readers in these spaces are looking for HEAs that affirm and celebrate these diverse relationships.

Moreover, the rise of social media and direct interaction with authors has given readers a louder voice in what they want to see in romance stories. They’re not just passive consumers anymore; they’re active participants, shaping the genre with their preferences and demands.

So, while the core promise of a HEA remains non-negotiable in romance, the way it’s delivered and what it encompasses are definitely expanding. Readers want stories that resonate with the complexities of modern love and life, pushing the genre to evolve in exciting ways.

To wrap up this episode, romances require an happily ever after or a happy for now ending.

Genre conventions provide the framework and common language for a genre, shaping the creation and structure of a story. Reader expectations are about personal and emotional engagement with the book, influencing how readers perceive and enjoy the story. Understanding both is crucial for authors and publishers to meet the needs of their audience and ensure a positive reading experience.

And that’s that on that so quit arguing about it on the timeline!