Romance Genre Quotes

Dismissing fantasy writing because some of it is bad is exactly like saying I'm not reading Jane Eyre because it is a romance and I know romance is crap.

Dear Mia, What can I say? I don't know all that much about romance novels, but I think you must be the Stephen King of the genre. Your book is hot. Thanks for letting me read it. Anyone who doesn't want to publish it is a fool. Anyway, since I know it's your birthday, and I also know you never remember to back anything up, here's a little something I made for you. It would be a shame if Ransom My Heart got lost before it ever saw the light of day because your hard drive crashed. See you tonight. Love, Michael

When a woman reads a romance novel, she is putting her own pleasure first. That small act of rebellion is perceived as a threat to the status quo. It’s also why this eternally popular and profitable genre has been scorned, ridiculed and dismissed.

The romance genre is the only genre where readers are guaranteed novels that place the heroine at the heart of the story. These are books that celebrate women's heroic virtues and values: courage, honor, determination and a belief in the healing power of love.

The big trinity of publishing: mystery, thrillers and romance. If you can combine all three, then it’s a winner’s trifecta and you’ll be rich beyond your dreams.

I have seen authors saying their agents have told them to change their genre to another. For instances, YA genre is re-classified as historical romance or Contemporary Romance is now Women's Fiction to fit market trends. It's important for authors to be flexible, but they should keep writing what they love to write. Writing is a profession, I understand, but it is also an art. Be true to it.

Romance novels are tales of brave women taming dangerous men. They are stories that capture the excitement of that most mysterious of relationships, the one between a woman and a man. They are legends told to women by other women, and they are as powerful and as endlessly fascinating to women as the legends that lie at the heart of all the other genres.

Quick note here: if this crush-slash-swooning stuff is hard for you to stomach; if you’ve never had a similar experience, then you should come to grips with the fact that you’ve got a TV dinner for a heart and might want to consider climbing inside a microwave and turning it on high for at least an hour, which if you do consider only goes to show what kind of idiot you truly are because microwaves are way too small for anyone, let alone you, to climb into.

Tolkien and Lewis were attracted to the genres of myth and romance not because they sought to escape the world, but because for them the real world had a mythic and heroic quality.

That's really the point of romance as a genre, women asking for what they want, without apology.

People who make snide comments to authors like "anyone can write a book" or "well, you did it, so obviously I can/it can't be that hard" or poke at a book because it's "romance" or "genre fiction" and act like that somehow makes it substandard because they don't read it... well, ok, go ahead. Write a bestseller. Don't forget to go through the correct edit process. We'll wait.

It was Joss Whedon's Buffy the Vampire Slayer (the television series, 1997-2003, not the lackluster movie that preceded it) that blazed the trail for Twilight and the slew of other paranormal romance novels that followed, while also shaping the broader urban fantasy field from the late 1990s onward. Many of you reading this book will be too young to remember when Buffy debuted, so you'll have to trust us when we say that nothing quite like it had existed before. It was thrillingly new to see a young, gutsy, kick-ass female hero, for starters, and one who was no Amazonian Wonder Woman but recognizably ordinary, fussing about her nails, her shoes, and whether she'd make it to her high school prom. Buffy's story contained a heady mix of many genres (fantasy, horror, science-fiction, romance, detective fiction, high school drama), all of it leavened with tongue-in-cheek humor yet underpinned by the serious care with which the Buffy universe had been crafted. Back then, Whedon's dizzying genre hopping was a radical departure from the norm-whereas today, post-Buffy, no one blinks an eye as writers of urban fantasy leap across genre boundaries with abandon, penning tender romances featuring werewolves and demons, hard-boiled detective novels with fairies, and vampires-in-modern-life sagas that can crop up darn near anywhere: on the horror shelves, the SF shelves, the mystery shelves, the romance shelves.

I know people hate the romance genre in general, for its predictability, but that's precisely why I love it. Isn't there enough uncertainty in life to seek it in cinema too? For me, there's something magical about that sequence, the promise of a happily ever after, that will never not soothe the deepest of my wounds.

The one young officer swung his horse around, came back, and leaned over into Penthe's face. She did not look at him. "Are you free, Miss?" "I am free. Free from everyone, but my lover. He has stolen my heart and soul forever.

For me the genre of romance is about the characters. It’s about following a journey between two people and watching them grow and develop and have their lives change for the better because of their presence in each other’s world.

Snow White purses her lips and presses them to the glass before taking a quick taste, just enough to wet her tongue.

I have noticed a curious bifurcation in outcome in the way romances are written by women et written by men - Love Story, The Bridges of Madison County, every James Bond tale ever penned, even the film named above - end with the woman either lost or dead. And the man free to love, or at least to have sex, again. Romances (in the modern genre sense) written by women end with the couple alive, together, and in a committed and at least potentially fertile relationship, ready to turn to the work of their world. In other words, men's romances are about love and death; women's romances are about love and life.

William Shakespeare (baptised 26 April 1564 – died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

Some stories consumed you, they made time stop, your worries float into the ether, and when it came to my reading habits I chose romance over any other genre. The appeal of the happy ever after, the winsome heroine being adored for who she was, and the devastatingly handsome hero with more to him than met the eye tugged at my heart.

It doesn’t matter the genre, what matters is the escape. The appreciation for getting lost in words.

Todos tenemos derecho a vivir una gran historia de amor.

Compared to the rest of us here, she appears a little too polished with her business-casual attire to walk into this rundown, hole-in-the-wall bar, especially alone at night.

I’m sure she must have a boyfriend hiding in the shadows just waiting for someone to say hi to her.

She’s drumming her pink-tinted fingernails against the bar-top and her knee is bouncing a mile a minute

Most people know what they want and how they want it when they order here.

The rest of 2012's big winners are romances, all but one (The Lucky One, by Nicholas Sparks) of the sexed-up genre now known as "mommy-porn.

...after knowing the man as long as I have, I’m presuming he wants to know why this girl is sitting here, drinking whiskey like it’s a glass of water she just found in the middle of a desert.

Romance is about the centrality of loving relationships, and it reminds us that human connection is vital to existence, rather than glorifying egoism or violence or greed. So excuse my genre for not being perfect, but let’s back the fuck up from hypocritically critiquing books that have done a lot more for humanity than slashers and circle-jerk, five-hundred-page, nihilistic tomes.

Love hurts. Think back over romance novels you’ve loved or the genre-defining books that drive our industry. The most unforgettable stories and characters spring from crushing opposition. What we remember about romance novels is the darkness that drives them. Three hundred pages of folks being happy together makes for a hefty sleeping pill, but three hundred pages of a couple finding a way to be happy in the face of impossible odds makes our hearts soar. In darkness, we are all alone. So don’t just make love, make anguish for your characters. As you structure a story, don’t satisfy your hero’s desires, thwart them. Make sure your solutions create new problems. Nurture your characters doubts and despair. Make them earn the happy ending they want, even better…make them deserve it. Delay and disappointment charge situations and validate character growth. Misery accompanies love. It’s no accident that many of the stories we think of as timeless romances in Western Literature are fiercely tragic: Romeo and Juliet, Tristan and Isolde, Cupid and Psyche… the pain in them drags us back again and again, hoping that this time we’ll find a way out of the dark. Only if you let your characters get lost will we get lost in them. And that, more than anything else, is what romance can and should do for its protagonists and its readers: lead us through the labyrinth, skirt the monstrous despair roaming its halls, and find our way into daylight.

This girl has a mysterious look in her eyes, and her rigid stature highlights a sense of confidence. She didn’t accidentally stumble upon this bar. There is an obvious purpose as she falls heavily down onto a bar stool.

As an author, you notice it. It’s always overlooked for literary fiction, whatever that means. People always thumb their nose at the genre, even though romance finds its way into every good story, every good movie or TV show.

Singling out “women’s fiction” for genre derision never fails to piss me off. Somehow worse when women do it. Case in pt: Editor says crowd-sourcing editorial for romance & erotica not bad idea b/c “no great artistry at stake” Yes, genre fiction not high art. But it’s a craft we take seriously, writing for love of storytelling, not writing whatever sells.

For some reason, when people meet me and find out I'm a writer they always ask if I write children's books. Um... please don't let your kids read my books. Well, unless your kids are in their 30s or something...then yeah, they're old enough. LOL

Angela Carter...refused to join in rejecting or denouncing fairy tales, but instead embraced the whole stigmatized genre, its stock characters and well-known plots, and with wonderful verve and invention, perverse grace and wicked fun, soaked them in a new fiery liquor that brought them leaping back to life. From her childhood, through her English degree at the University of Bristol where she specialised in Medieval Literature, and her experiences as a young woman on the folk-music circuit in the West Country, Angela Carter was steeped in English and Celtic faerie, in romances of chivalry and the grail, Chaucerian storytelling and Spenserian allegory, and she was to become fairy tale’s rescuer, the form’s own knight errant, who seized hold of it in its moribund state and plunged it into the fontaine de jouvence itself. (from "Chamber of Secrets: The Sorcery of Angela Carter")

I’ve always loved the hopeful nature of the romance genre. We can go to terrible places, dark places with our hero and heroine, explore wounds painful and old, because we know that there is hope even in the darkness. (Interview with Read-A-Romance Month, 2013)

I made a decision long ago not to make any apologies. Romance rocks, and even though my books don't actually fall into the romance genre, I tout them as very much being about the romance. It's fun. We're all obsessed with it. And it's human nature. Remember, NO APOLOGIES! Write what 's in your heart!

Then you have this other phenomena of the paranormal romance. It's all the benefits of being a vampire without the sacrifices. By the gods, Meyer's vampires walk around sparkling in the daylight and some are vegetarians. But this phenomenon is also tied to a lot of our communal fears. Fear of aging. Fear of fading youth. Fear of loneliness. But whereas the classic motifs are more concerned with confronting and overcoming our fears, the fears of the paranormal romance genre become twisted fantasies of denial. The idea of staying young, attractive and powerful for eternity feeds into the modern self-absorbed ethos.

Humor, drama, romance, whatever genre of entertainment you create or consume is only effective if it is challenging to your sensibilities. When the sexuality of seeing a woman’s ankles became trumped by her calf, society changed. When the calf was later trumped by a woman offering shots of alcohol from her vagina on Rock of Love, society changed again. My hope for this world is that we can soon run out of shocking body parts and can finally see the humor in our ætheric bodies.

Whatever genre you deem suitable for your taste – romance, comedy, action, mystery, sci-fi or anything else, make sure it has the plain everyday human kindness.

Pretty doll," rasped the dark haired vampire as he went about behind her, and she could feel his ravenous hunger practically radiating off him.

When I was a kid, I just read and read. We were lucky enough to have gone to England and had a whole bunch of Penguin Puffins books, like The Land of Green Ginger by Noel Langley, which is hilarious. I would love to be able to write a book like that, but I don't know that I have a humorous bone in my body when it comes to writing. Once on a Time by A.A. Milne. I read a lot of old, old fantasy stuff. The Carbonelbooks by Barbara Sleigh. Then when I got a little older I loved Zilpha Keatley Snyder. I was a big fan of romance and when I got a little bit older I would read a Harlequin romance or a Georgette Heyer novel and then David Copperfield, and then another genre book and then Irving Stone's The Agony and the Ecstasy. I was that kind of reader. One book that I loved was I Capture the Castle by Dodie Smith. I loved voice and that book had it in spades. And then of course I grew into loving Jane Eyre.

It’s not often that you see this level of complexity in the erotic romance genre. This felt more on par with something written by leading authors in the mainstream suspense genre. There is intrigue, magic, drama…and that’s just the first chapter! Once I started reading, I couldn’t put the book down. From Just Erotic Romance Review Publications, on Soulmate's Touch

Oh, dear God. Do none of you know what romance is? We must have a plan. Some grand gesture to let him know that you still love him as much as he loves you.” “I don’t have a plan.” I groaned. “I know.” Staci bounced on the bed. “You can get your vagina pierced.” “What kind of romance are you reading?” I balked. “True. Wrong genre.” She jumped off the bed and pulled me with her into her bedroom.

Romance is fiction.” He punctuated this statement by taking a bite of steak, and then chewing. “But it’s—it’s—” Interesting? Well researched? Engaging? Well written? All of the above. “Not what you expected?” he supplied, smirking around his bite. “What did you expect?” Shrugging, I lifted a small rectangle of lasagna on my fork and blew at the steam. “I guess something brainless.” I didn’t add that I followed The New York Times Book Review and they’d had more than their fair share of articles calling the romance genre “fluffy.” If you couldn’t trust The New York Times Book Review, who could you trust? “Why? Because it’s about love and has a happy ending? And only stories of unhappiness with tragic endings are important? Because a struggle that leads to something good isn’t worthwhile?

There is no other way to say it—reading and writing romance is considered a taboo by a lot of people. They do not want to be associated with the genre even if that is what they enjoy reading. As a romance writer, I have accepted that fact. I’ve had people ask me why I chose to write romance and not another genre. The answer is simple—I write what I like to read, and that should not change for anyone.

Romance is that genre so many people read but most deny reading. It’s the taboo one that’s labeled as smut or mindless reading and often looked down upon by people in publishing as well as readers in general,

"Epic drama, with a lot of love that withstands it all." She leaned in closer and whispered, "And great steamy scenes, if that's your thing." Jack laughed. Now he knew he'd be reading it. Who didn't love a little steam?

Romance is feminist. The reply was on the tip of my tongue. Romance is one of the few genres that explicitly puts a woman’s dreams and desires, sexual and otherwise, front and center. It’s one of the many reasons I love reading it.

YA stories feature a young adult protagonist or protagonists and usually focus on that character’s journey toward maturity (the tradition of the Bildungsroman.). Learning about love / relationships is an important part of that stage in our lives, so it’s not surprising so many writers are building strong romantic elements into their YA stories. I don’t remember quite such an emphasis on romance in the books my children read as young adults, so I do think the approach has changed. Within my genre of fantasy, there’s been an upsurge of paranormal romance, partly generated by the Twilight books, but also reflecting the popularity of this sub-genre with adult readers. There are far more female fantasy writers (and female fantasy readers) than there were, say, twenty years ago, and perhaps female writers are more confident about including a good love story in a fantasy novel. (2012 Interview by Helen Lowe: The Supernatural Underground: An Interview with Juliet Marillier Discussing "Shadowfell".)

American literature has, since the time of the Puritans, featured the jeremiad as a prolonged complaint, a prophet's indictment of his society characteristic of work such as the muckrakers' novels or Allan Ginsberg's “Howl.” Doctorow struggles to accommodate this form to his artistry (as successful practitioners of the work have always done). To this end, he has repeatedly adapted genres such as the Western, the romance, and the detective novel, often playing with accepted conventions, and thus avoiding didacticism.

Am I Dead?" Had she fallen to her doom and this was all an elaborate fantasy? Was this the place between life and death? Her eyes welled up with tears and she ran towards the man that wasn't there, wanting to cling to him, to find something to save her from this torture.

We have so politicized literature today, pigeonholing people into gay male fiction, lesbian fiction, transgender fiction and then other sub-genres within those. There seems to be a feeling like authors should stay in their own box and not write about anybody else, but the thing is, as a writer, you're constantly writing about things that you yourself haven't personally experienced. We should all be free to write about each other as human beings. Some gay men love reading lesbian novels, some straight women love gay male romance, and that richness of reaching across the boundaries helps us further our understanding of each other.

It is difficult to grasp the appeal of watching humans that don’t exist struggle with problems that aren’t real.” He watched the on-screen couple regard each other warily from across a crowded room. “I have observed many real humans with real problems. I don’t see the need to invent new ones for entertainment.” “Maybe it’s so we can dissociate from our own for a while.” Eva grabbed a handful of popcorn and consumed it with relish. “Their issues could be solved in one conversation. Why are they incapable of basic communication?” She laughed, though it ended with another wince. “You just summarized half the romance genre in two sentences. Though to be fair, this movie is especially bad.

I think romance is maligned in large part because at first glance, love seems so pedestrian. It’s all around us. It’s in books and songs and movies and on billboards, so how could it really hold literary value? But what people tend to forget is that the search for love—for the simple idea that there is someone out there who will see us for who we are and accept us isn’t trite. It’s a huge part of our lives. And it’s an enormous part of our dreams. There are so many fabulous romances out there—there’s something for everyone. I really believe that. And I believe that most of the people who look down their noses at the genre haven’t ever read a romance novel. I think that if they did, they’d be really surprised by how good great romance can be.

Mulut manusia itu persis seperti genre novel, ada fiksi, biografi (pencitraan), terkadang horor, drama (terlalu dilebih-lebihkan), kerjaannya ngerayu sok romance, kayak fabel yang tiap ngumpul ngomongin burung melulu, gak pernah serius kayak comedy atau gak nyambung seabstrak fiction sci-fi, ada magic yang ngomongnya diada-adain padahal enggak ada, tapi juga ada yang true story.

Literature is the extant body of written art. All novels belong to it. The value judgement concealed in distinguishing one novel as literature and another as genre vanishes with the distinction. Every readable novel can give true pleasure. Every novel read by choice is read because it gives true pleasure. Literature consists of many genres, including mystery, science fiction, fantasy, naturalism, realism, magical realism, graphic, erotic, experimental, psychological, social, political, historical, bildungsroman, romance, western, army life, young adult, thriller, etc., etc…. and the proliferating cross-species and subgenres such as erotic Regency, noir police procedural, or historical thriller with zombies. Some of these categories are descriptive, some are maintained largely as marketing devices. Some are old, some new, some ephemeral. Genres exist, forms and types and kinds of fiction exist and need to be understood: but no genre is inherently, categorically superior or inferior. (Hypothesis on Literature vs. Genre)

Thanks to Casey Ashcraft Honebrink! The book includes my winning "IN HIDING" as a short story along with 23 other winning entries from talented members of WRITERS ASSEMBLED. The anthology, THE BEST OF WRITERS ASSEMBLED 2017: BEHIND CLOSED DOORS is a mixed-genre collection. It really has a little something for everyone : action, suspense, humor, romance, fantasy, supernatural, science fiction, drama, poetry, and personal stories. You can find it on Amazon, get your copy today! Thanks for recognizing and supporting our group!

The people who ship writing/difficulty and writing/revolution don’t talk to the people who ship writing/entertainment or writing/romance. The writing/money shippers have an uneasy détente with the writing/literature folks in the prose fandom, but almost none of them talk to the poetry people because how could you even? The writing/YA folks have a strong community or are cliquish, depending on who you ask, and everyone knows not to invite the writing/genre people to the same party as writing/literary folks because it just ends up in a shouting match.

In the past few years, more and more passionate debates about the nature of SFF and YA have bubbled to the surface. Conversations about race, imperialism, gender, sexuality, romance, bias, originality, feminism and cultural appropriation are getting louder and louder and, consequently, harder to ignore. Similarly, this current tension about negative reviews is just another fissure in the same bedrock: the consequence of built-up pressure beneath. Literary authors feud with each other, and famously; yet genre authors do not, because we fear being cast as turncoats. For decades, literary writers have also worked publicly as literary reviewers; yet SFF and YA authors fear to do the same, lest it be seen as backstabbing when they dislike a book. (Small wonder, then, that so few SFF and YA titles are reviewed by mainstream journals.) Just as a culture of sexual repression leads to feelings of guilt and outbursts of sexual moralising by those most afflicted, so have we, by denying and decrying all criticism that doesn’t suit our purposes, turned those selfsame critical impulses towards censorship. Blog post: Criticism in SFF and YA

However politically desirable a republic might be, it remains unable to compete imaginatively with monarchy because monarchy in principle more completely mirrors the nature of divine authority. One of the great imaginative advantages of the genre of fairy-tale or romance is to allow for the presentation of such a principle. In fairy-tale the author can leave behind the shallows of the ‘realistic’ novel, and is free to show the reader something better than mundane norms. What might it be like if human kings really did exhibit perfect kingship? The Lion, the Witch and the Wardrobe attempts an answer.

was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

Science fiction, as a genre is fundamentally about ideas. It's about asking an impossible question, "What if...?" and building a story out of the answer. Romance on the other hand, is fundamentally about relationships. The hypothetical romance transposed to the past could be rewritten without the futuristic elements and still work as a story, which is something that can't happen with SF. It works in romance, because the story is the relationship and that depends on character, not setting. Lots of books take elements from multiple genres, and there are elements that put them into one genre or another, but setting isn't a key determinant.

conventions hosted by the Miami Morrison. The question was, what convention was Laker Girl attending? Walt had arrived at the hotel earlier in the day to find massive banners and the entire second floor of the conference hall filling up with pictures of half-naked men and women embracing. At first, he thought the competing conference had something to do with adult film. When he asked, he was told a writers convention was dominating the hotel for the weekend. By comparison, the number of people at the conference he was attending was a drop of water in the ocean. Soon the hotel would be filled with writers, readers, publishers, and agents. The genre of choice . . . romance. Books written with nothing but happily-ever-after in mind.

We need so desperately to believe in a forever love--so much so that there’s an entire genre of entertainment dedicated to young lovers who persist against all odds, medical or fantastical or otherwise--that when it doesn’t happen, we fall a little bit to pieces. The spell is broken. Evil wins. Because that’s a true representation of reality, that loss of hope, that perversion of purity. That’s what we’re all living with anyway and seeing it represented in our entertainment reinforces what we already know to be true: there is no perfect love or life or quest or character. We’re all just fumbling along, trying to make the best of whatever it is we can find, whatever small comforts we can take, whatever compromise seems the least devastating.

Il avait pris le temps de l’analyser sous tous les angles et il aurait pu la reconnaître parmi des milliers de personnes. Il ne pouvait pas nier qu’il la trouvait intrigante… Et il n’était pas du genre à refouler ses fantasmes. Il savait que Lee le détestait, mais lui, il ne l’avait pas oubliée. Comment pourrait-il l’oublier ? Depuis le tournoi, il n’avait jamais oublié la flamme qu’il avait vue dans ses yeux au moment de sa défaite. Il l’avait écrasée et il n’éprouvait pas une once de culpabilité… Elle le méritait, ce n’était qu’une petite vantarde. Ce désir qu’il éprouvait pour elle aurait dû se dissiper depuis autant d’années, et pourtant, il brûlait toujours en lui. Il était même devenu plus intense, plus fou. Il se réjouissait de pouvoir la traquer, il adorait jouer.

The dominant literary mode of the twentieth century has been the fantastic. This may appear a surprising claim, which would not have seemed even remotely conceivable at the start of the century and which is bound to encounter fierce resistance even now. However, when the time comes to look back at the century, it seems very likely that future literary historians, detached from the squabbles of our present, will see as its most representative and distinctive works books like J.R.R. Tolkien’s The Lord of the Rings, and also George Orwell’s Nineteen Eighty-Four and Animal Farm, William Golding’s Lord of the Flies and The Inheritors, Kurt Vonnegut’s Slaughterhouse-Five and Cat’s Cradle, Ursula Le Guin’s The Left Hand of Darkness and The Dispossessed, Thomas Pynchon’s The Crying of Lot-49 and Gravity’s Rainbow. The list could readily be extended, back to the late nineteenth century with H.G. Wells’s The Island of Dr Moreau and The War of the Worlds, and up to writers currently active like Stephen R. Donaldson and George R.R. Martin. It could take in authors as different, not to say opposed, as Kingsley and Martin Amis, Anthony Burgess, Stephen King, Terry Pratchett, Don DeLillo, and Julian Barnes. By the end of the century, even authors deeply committed to the realist novel have often found themselves unable to resist the gravitational pull of the fantastic as a literary mode. This is not the same, one should note, as fantasy as a literary genre – of the authors listed above, only four besides Tolkien would find their works regularly placed on the ‘fantasy’ shelves of bookshops, and ‘the fantastic’ includes many genres besides fantasy: allegory and parable, fairy-tale, horror and science fiction, modern ghost-story and medieval romance. Nevertheless, the point remains. Those authors of the twentieth century who have spoken most powerfully to and for their contemporaries have for some reason found it necessary to use the metaphoric mode of fantasy, to write about worlds and creatures which we know do not exist, whether Tolkien’s ‘Middle-earth’, Orwell’s ‘Ingsoc’, the remote islands of Golding and Wells, or the Martians and Tralfa-madorians who burst into peaceful English or American suburbia in Wells and Vonnegut. A ready explanation for this phenomenon is of course that it represents a kind of literary disease, whose sufferers – the millions of readers of fantasy – should be scorned, pitied, or rehabilitated back to correct and proper taste. Commonly the disease is said to be ‘escapism’: readers and writers of fantasy are fleeing from reality. The problem with this is that so many of the originators of the later twentieth-century fantastic mode, including all four of those first mentioned above (Tolkien, Orwell, Golding, Vonnegut) are combat veterans, present at or at least deeply involved in the most traumatically significant events of the century, such as the Battle of the Somme (Tolkien), the bombing of Dresden (Vonnegut), the rise and early victory of fascism (Orwell). Nor can anyone say that they turned their backs on these events. Rather, they had to find some way of communicating and commenting on them. It is strange that this had, for some reason, in so many cases to involve fantasy as well as realism, but that is what has happened.

The techno-political thriller and the romance novel serve as antidotes to the imagination rather than stimulants to it. For this reason they make for ideal reading in airports and airplanes. They effectively shut down the imagination by doing all its work for it. They leave the spirit or the soul—and ambiguity, for that matter—out of the equation. By shutting down the imagination, genre novels perform a useful service to the anxious air traveler by reducing his or her ability to speculate. For the most part, people on airplanes, and here I include myself, would rather not use their speculative imaginations at all; one consequence of this situation is that great poetry is virtually unreadable during turbulence, when the snack cart has been put away and the seat belts fastened. Enough anxiety is associated with air travel without Rainer Maria Rilke’s Sonnets to Orpheus making it worse.

Even though Sam wasn't a romance author, he knew all the big ones, the heavy hitters and those that had crossed genres. He was greeted by most of the authors, some he knew and others who wanted to meet the famous author. Needless to say the romance genre remained comprised mostly by women authors. Sam stuck out like a rooster in a hen house. A tall, handsome, cool rooster in black jeans, his sunglasses hooked off the pocket of his pale blue oxford shirt. A rooster with a flock of hens following his every move.

As a woman writing SF, I felt I had to think and write like a man in order to be taken seriously.

Year after year, romance proves to be one of the most popular genres among readers, and for good reason. This genre lets the reader fall in love alongside its protagonists. Who doesn’t love that feeling?

Fiction Historical fiction is a subset of the literary fiction genre, which we will discuss in greater detail in the next chapter. From romance to mystery to fantasy to adventure, historical fiction often crosses into a number of other co-genres.

Sweet fiction. Sweet is most often used to describe romances with no sex or with action that takes placed behind closed bedroom doors, but the sweet or wholesome style can also be applied to other genres.

One of the things that Tolkien did was to open up a new continent of imaginative space for many millions of readers, and hundreds of writers – though he himself would have said (see above) that it was an old continent which he was merely rediscovering. An acceptably philological way of putting it might be to say that Tolkien was the Chretien de Troyes of the twentieth century. Chretien, in the twelfth century, did not invent the Arthurian romance, which must have existed in some form before his time, but he showed what could be done with it; it is a genre whose potential has never been exhausted in the eight centuries since. In the same way, Tolkien did not invent heroic fantasy, but he showed what could be done with it; he established a genre whose durability we cannot estimate.

That's one of the most bewitching things about romance for me, as a reader and writer. Romances harbor hope for the reader. They create a direct emotional experience of certainty and potential to bridge the dark moments and help lead us into the light. No small wonder that romance is the source of all fictional genres and that romance continues to outsell every other form of human literary output. Hope is a magical thing, hard-won and easily snuffed. Anyone can point out ways for us to stay disappointed, compromised, and anxious, but opening anyone's eyes to possibilities helps them dream harder and reach further. Any book that can do that deserves a place on my shelves.

The bar was busy for a Wednesday due to the conventions hosted by the Miami Morrison. The question was, what convention was Laker Girl attending? Walt had arrived at the hotel earlier in the day to find massive banners and the entire second floor of the conference hall filling up with pictures of half-naked men and women embracing. At first, he thought the competing conference had something to do with adult film. When he asked, he was told a writers convention was dominating the hotel for the weekend. By comparison, the number of people at the conference he was attending was a drop of water in the ocean. Soon the hotel would be filled with writers, readers, publishers, and agents. The genre of choice . . . romance. Books written with nothing but happily-ever-after in mind.

Review of my book Hope's Motel by Jacob Airey of LonestarInspirations. Men are enjoying it as much as women! "Hope’s Motel by Danyele Read is a Christian contemporary romance fiction first person narration. You can find it on Amazon. Hope Cassel is a Christian, single mother who inherits a motel from her uncle and aunt. After she renovates it and opens it, she encounters a series of characters that sometimes challenge her faith and other times, strengthens it. Within trials, tribulations, and victories, she finds courage, inspiration, and even romance. Hope’s Motel is not a genre I typically read and this goes to the “don’t judge a book by its cover” proverb. I found the story and narration very entertaining and inspiring. While the book is episodic in nature, dealing with issues like PTSD and drug addiction, it has an overarching storyline that keeps the book cohesive. I also enjoyed reading the perception of the main character: Hope. She was a very likable person who was easy to relate to. Bottom line, it is a perfect book to read while you’re sitting by the fire and sipping your warm tea. This review is based on a free copy from the author. All my views and opinions are my own.

Times goes by your choice, if you make your days wonderful the days will go fast... and interesting and memorable.... If you do it in boring way they will go like watching a film which doesn't have something to make you get interested without games, crimes, horror, thriller, romance and every single other genre which you think without it the film is awful... but not only genre, but genres!

There have been glimpses of alternative romance narratives—not only in niche genres or in programs with small but dedicated followings, but also in Hollywood blockbusters and primetime television—that represent an empowered version of womanhood that still finds room for intimacy, even if it is a struggle. These alternative romance narratives offer sites of potential resistance, transformation, and agency. They show us examples where feminist-friendly heterosexual intimacies are being advanced and even celebrated, where pockets of popular culture are replacing the feminist man-hating stereotype with a feminist man-loving ideal—whether the love is romantic or not—that portrays female relationships with men in ways that avoid or question the old caricatures. (6)

Today, some viewers who seek or expect constructions of female identity that cohere with expectations for a strong, independent woman who can take care of herself and save others have less patience with uncomplicated stereotypical representations of the utterly helpless female, no matter the genre. (9)

Be good to everyone who becomes attached to us; cherish every friend who is by our side; 카톡☛ppt33☚ 〓 라인☛pxp32☚ 홈피는 친추로 연락주세요 love everyone who walks into our life.It must be fate to get acquainted in a huge crowd of people... 비닉스구입,비닉스구매,비닉스판매,비닉스가격,비닉스파는곳,비닉스팝니다,비닉스구입방법,비닉스구매방법,비닉스복용법 I feel, the love that Osho talks about, maybe is a kind of pure love beyond the mundane world, which is full of divinity and caritas, and overflows with Buddhist allegorical words and gestures, 아무런 말없이 한번만 찾아주신다면 뒤로는 계속 단골될 그런 자신 있습니다.저희쪽 서비스가 아니라 제품에대해서 자신있다는겁니다 팔팔정,구구정,네노마정,프릴리지,비맥스,비그알엑스,엠빅스,비닉스,센트립 등 많은 제품 취급합니다 확실한 제품만 취급하는곳이라 언제든 연락주세요 Zombie stories are life lessons for boys who don't mind thinking about bodies, but can't cope with emotions. Vampire stories are in many ways sex for the squeamish. We don't need Raj Persaud to tell us that plunging canines into soft warm necks, or driving stakes between heaving bosoms, are very basic sexual metaphors. 비아그라파는곳,시알리스파는곳,레비트라파는곳,엠빅스파는곳,센트립파는곳,센돔파는곳,카마그라젤파는곳,남성정력제파는곳,네노마정파는곳 There are now even whole sections of bookshops given over to the new genre of "supernatural romance". Maybe it was ever thus. Dr Polidori, who wrote the very first vampire novel, The Vampyr, based his central character very much on his chief patient, Lord Byron, and the Byronic "mad, bad and dangerous to know" archetype has been at the centre of both romantic and blood-sucking fiction ever since. Dracula, Heathcliffe, Rochester, Darcy and not to mention chief vampire Bill in Channel 4's new series True Blood are all cut from the same cloth. Meyer even claims that she based her first Twilight book on Pride and Prejudice, although Robert Pattinson, who plays the lead in the movie version, looks like James Dean in Rebel Without A Cause. Either way, vampire = sexy rebel. No zombie is ever going to be a pinup on some young girl's wall. Just as Pattinson and all the Darcy-alikes will never find space on any teenage boy's bedroom walls – every inch will be plastered with revolting posters of zombies. There are no levels of Freudian undertone to zombies. Like boys, they're not subtle. There's nothing sexual about them, and nothing sexy either.

Being the richest man in the cemetery doesn't matter to me ... Going to bed at night saying we've done something wonderful... that's what matters to me. 카톡☛ppt33☚ 〓 라인☛pxp32☚ 홈피는 친추로 연락주세요 불개미구입,불개미구매,불개미판매,불개미파는곳,불개미가격,불개미구입방법,불개미구매방법,불개미구입사이트,불개미구매사이트,불개미판매사이트 비아그라팝니다,시알리스팝니다,레비트라팝니다,구구정팝니다,팔팔정팝니다,네노마정팝니다 I want to put a ding in the universe. Quality is more important than quantity. One home run is better than two doubles. Remembering that I'll be dead soon is the most important tool I've ever encountered to help me make the big choices in life. Zombie stories are life lessons for boys who don't mind thinking about bodies, but can't cope with emotions. Vampire stories are in many ways sex for the squeamish. We don't need Raj Persaud to tell us that plunging canines into soft warm necks, or driving stakes between heaving bosoms, are very basic sexual metaphors. There are now even whole sections of bookshops given over to the new genre of "supernatural romance". Maybe it was ever thus. Dr Polidori, who wrote the very first vampire novel, The Vampyr, based his central character very much on his chief patient, Lord Byron, and the Byronic "mad, bad and dangerous to know" archetype has been at the centre of both romantic and blood-sucking fiction ever since. Dracula, Heathcliffe, Rochester, Darcy and not to mention chief vampire Bill in Channel 4's new series True Blood are all cut from the same cloth. Meyer even claims that she based her first Twilight book on Pride and Prejudice, although Robert Pattinson, who plays the lead in the movie version, looks like James Dean in Rebel Without A Cause. Either way, vampire = sexy rebel.

Your negative emotions can also be controlled and directed. PMA and self-discipline can remove their harmful effects and make them serve constructive purposes. Sometimes fear and anger will inspire intense action. But you must always submit your negative emotions--and you positive ones--to the examination of your reason before releasing them. Emotion without reason is a dreadful enemy. 카톡☛ppt33☚ 〓 라인☛pxp32☚ 홈피는 친추로 연락주세요 팔팔정판매,팔팔정파는곳,팔팔정가격,팔팔정후기,팔팔정구입방법,팔팔정복용법,팔팔정부작용,팔팔정구입사이트,팔팔정구매사이트,팔팔정판매사이트 구구정가격,비아그라가격,시알리스가격,레비트라가격,아드레닌가격,센돔가격,비닉스가격,센트립가격 What faculty provides the crucial balance between emotions and reason? It is your willpower, or ego, a subject which will be explored in more detail below. Self-discipline will teach you to throw your willpower behind either reason or emotion and amplify the intensity of their expression. There are now even whole sections of bookshops given over to the new genre of "supernatural romance". Maybe it was ever thus. Dr Polidori, who wrote the very first vampire novel, The Vampyr, based his central character very much on his chief patient, Lord Byron, and the Byronic "mad, bad and dangerous to know" archetype has been at the centre of both romantic and blood-sucking fiction ever since. Dracula, Heathcliffe, Rochester, Darcy and not to mention chief vampire Bill in Channel 4's new series True Blood are all cut from the same cloth. Meyer even claims that she based her first Twilight book on Pride and Prejudice, although Robert Pattinson, who plays the lead in the movie version, looks like James Dean in Rebel Without A Cause. Either way, vampire = sexy rebel. No zombie is ever going to be a pinup on some young girl's wall. Just as Pattinson and all the Darcy-alikes will never find space on any teenage boy's bedroom walls – every inch will be plastered with revolting posters of zombies. There are no levels of Freudian undertone to zombies. Like boys, they're not subtle. There's nothing sexual about them, and nothing sexy either.

Our current preoccupation with zombies and vampires is easy to explain. They're two sides of the same coin, addressing our fascination with sex, death and food. They're both undead, they both feed on us, they both pass on some kind of plague and they can both be killed with specialist techniques – a stake through the heart or a disembraining. But they seem to have become polarised. Vampires are the undead of choice for girls, and zombies for boys. Vampires are cool, aloof, beautiful, brooding creatures of the night. Typical moody teenage boys, basically. Zombies are dumb, brutal, ugly and mindlessly violent. Which makes them also like typical teenage boys, I suppose. 카톡►ppt33◄ 〓 라인►pxp32◄ 홈피는 친추로 연락주세요 발기부족으로 삽입시 조루증상 그리고 여성분 오르가즘늦기지 못한다 또한 페니션이 작다고 느끼는분들 이쪽으로 보세요 팔팔정,구구정,비닉스,센트립,네노마정,프릴리지,비맥스,비그알엑스 등 아주 많은 좋은제품들 취급하고 단골님 모시고 있는곳입니다.원하실경우 언제든 연락주세요 Zombie stories are life lessons for boys who don't mind thinking about bodies, but can't cope with emotions. Vampire stories are in many ways sex for the squeamish. We don't need Raj Persaud to tell us that plunging canines into soft warm necks, or driving stakes between heaving bosoms, are very basic sexual metaphors. There are now even whole sections of bookshops given over to the new genre of "supernatural romance". Maybe it was ever thus. Dr Polidori, who wrote the very first vampire novel, The Vampyr, based his central character very much on his chief patient, Lord Byron, and the Byronic "mad, bad and dangerous to know" archetype has been at the centre of both romantic and blood-sucking fiction ever since. Dracula, Heathcliffe, Rochester, Darcy and not to mention chief vampire Bill in Channel 4's new series True Blood are all cut from the same cloth. Meyer even claims that she based her first Twilight book on Pride and Prejudice, although Robert Pattinson, who plays the lead in the movie version, looks like James Dean in Rebel Without A Cause. Either way, vampire = sexy rebel. No zombie is ever going to be a pinup on some young girl's wall. Just as Pattinson and all the Darcy-alikes will never find space on any teenage boy's bedroom walls – every inch will be plastered with revolting posters of zombies. There are no levels of Freudian undertone to zombies. Like boys, they're not subtle. There's nothing sexual about them, and nothing sexy either.

Aaron always maintained that genre writers were formulaic, predictable and had no respect for Craft. And romance was the least appealing of all the genres. Why bother reading a book when you knew what the outcome would be?

​ My name is David, but most peole call me Popcorn. I write breathtaking adventures. I write the way most people think. I challengen myself to alter women emotion and guys intensely whenever they read what I write. I am forever involved in darker side of my writing. I often get jealous of the remarkablel women and the dangerious men I write about. My techique isunorthodox and my writing style is various.I can spin a fairytale from every genre, from murder mystery to urban fantasy to exotic romance. I I have been writing passionate since, I was 8. I am going to be a popular writer one day because I am capable of writing with such passion, intensity and sensitivity,

When readers trust that everything is going to be O.K. in the end, they open their hearts to experience a wider range of emotion, because they’re not protecting themselves from pain. This is something special to the genre.

Aleksander Lavrov n'est pas le genre de type à se faire des amis, mais plutôt à les repousser.

Romance is feminist. The reply was on the tip of my tongue. Romance is one of the few genres that explicitly puts a woman’s dreams and desires, sexual and otherwise, front and center.

What are you reading?” “A, um, historical romance series. I’m on book two.” “Is um-historical a new genre?” I joke. She looks from me to the book and seems nervous. Then she blushes. “Kendall Ross, what on earth are you—” She covers my mouth with her hand. “I found the first book at Aunt Josie’s.” I push her hand away. “So, it’s smut.

« Ravie de te revoir ! » répondit Lee avec un grand sourire, « Par contre, je dois vraiment aller me coucher. La journée a été longue. » « Ne serait-ce pas là une façon très indélicate de m’inviter à te suivre ? » demanda-t-il, d’un air taquin. Lee lui donna un petit coup de coude et ils éclatèrent de rire. Ils se mirent debout et s’adossèrent à la barrière du pont. « Si je voulais réellement que tu me suives, je ne chercherais pas une manière indélicate de te le faire savoir. » le provoqua Lee. Lee était quelqu’un d’honnête. Elle n’était pas le genre de fille à passer par quatre chemins : si elle voulait quelque chose, elle le disait clairement et l’obtenait par n’importe quel moyen. Particulièrement avec lui. « Je sais, je rigole. J’ai adoré la tête que tu as tirée. Tu sais bien que j’aime bien t’ennuyer… » gloussa-t-il en se rapprochant d’elle et en l’enlaçant à nouveau, « J’ai de nouveaux tatouages depuis la dernière fois. Tu veux les voir ? Je suis sûr que tu les adorerais. »

Why can’t the romance genre be more like what Jane Austen writes? Jane Austen actually wrote relevant commentary about social class, wealth, and marriage, while this modernalike society’s romance is about people, both men and women , falling in love at first sight (because of physical appearance, in other words), and sometimes for money. There are also many stereotypes and cliches that do not show how real-life society functions. If Jane Austen were alive, she would hate what romance has become.

Oh, it’s a whole genre. I’m pretty sure if half the dark romance readers were ever abducted, they’d cry if the police showed up and ruined their broody, twisty romance with their Mafia capo.

It was true. Jane was always reading some romance novel. Dani loved to read as well, but her preference was dark, mysterious, and twisted genres. Sure, she loved romance as well, but nothing compared to solving a mystery.

The genres were Romance in Michelet, Comedy in Ranke, Tragedy in Tocqueville, and Satire in Burckhardt.

Horror romance. That’s a genre, right?

Let’s call this the Netflix Test. Could your World be turned into a TV series? If not, why not? That can be a significant difference between Series 1.0 and Series 2.0 (see Chapter Twenty-one for my thoughts on Series 2.0).

The next step is to rework that pitch into a blurb that ends on a hard tease, that makes a reader one-click because they simply must know what happens next. Create questions they cannot walk away from, and make them buy your book. Don’t worry if it doesn’t look like back cover copy “should.” The only thing that matters is if it resonates with readers in the audience you are targeting. And if it doesn’t? Try again.

The other series where I stumbled is SEALs Undone, which despite that has done pretty well.

he also helps link it to other women’s “stories”: the soap, the rom-com, the romance novel, and, more recently, reality television. These are the genres that get dismissed as fluff, which is how our culture regards art that makes women’s lives look like fun. They’re “guilty pleasures,” not unlike sex itself.

All genres are worth perusing,” Zander said without missing a beat. “I don't believe in declaring a whole subset of novels unworthy. You never know what treasures you might be missing.