Is romance getting harder?
Is romance getting harder? No, no, no, I’m not talking about 40 Shades or any other semi sado nonsense, that’s not romance, that’s just mindless titillation when compared with the enduring, gut wrenching, emotional tension of a well written love story.
Living in an open, tolerant (well, all things are relative) society is great, but it’s not so good for contemporary romance writers. Because powerful fictional romance isn’t about the protagonists being together, it’s much more about keeping them apart. The term ‘star-crossed lovers’ gives a clue. Love stories hinge on the concept of ‘what’s to stop them?’ and in our current ‘anything goes/who cares’ society, frankly, there’s not much to stop anybody doing anything.
Open-mindedness, ease of travel and (comparative) affluence has clearly made life much more difficult for contemporary romance writers. They now have to work much harder to create plausible constraints (emotional not physical) and friction (emotional not physical) to keep their lovers apart. But if they want to achieve the ‘tears on the pillow’ and ‘page-turning power’ of a real enduring love story that’s exactly what they have to do – they have to create two great, thoroughly believable characters who ultimately belong together but cannot actually get together for equally great, thoroughly believable reasons.
And finding those reasons isn’t easy. As a society we have moved on from those good (in the fictionally useful sense) old days of class conflict, xenophobia, faith incompatibility, virgin bride, anti divorce, homophobia, feuding families and so on. It’s certainly not always easy for couples nowadays, but these kind of ‘cross boundary’ liaisons rarely engender the stigma and taboo they once did.
A few prejudices do inevitably linger on, but on the whole they are more likely to generate a few raised eyebrows or even a giggle than ostracism, disinheritance or danger of death at the brother’s hand. When it comes down to it, there is very little now to stop him and her, or her and her, or him and him, getting together.
It’s so much easier in historical fiction where the writer can summon up chaperones, invading armies, fight to the death religions and brutal, all powerful fathers at the touch of the pen (or mouse).
Yes, of course there are still the conventional old chestnuts for contemporary romance writers to fall back on, the mistaken identities, the lost email, the huffy misunderstanding, even, in absolute desperation, the natural disaster, but it’s hard to string these along for 100,000 words without the reader flinging down their Kindle, turning to their foreign, cross-dressed, age-gapped lover and saying, ‘Oh for goodness sake, why don’t they just get on with it!’