A Complete List of Anime Genres With Explanations

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Therefore, the general definition, as embraced by the RWA and publishers, includes only the focus on a developing romantic relationship and an optimistic ending. A woman is the secret lover of or enjoys a one-night stand with an unlikely but powerful man, and unintentionally becomes pregnant. It is through romance, literature can highlight the cross-referenced as well as integrative nature of the written words. Individual titles may be better categorized under other genres, such as science fiction.

However, the major function of genre is to establish a code of behavior between the writers and audience, and keep the readers informed about the topics discussed or the themes presented. By some definitions, 'spicy' romances focus more on married couples.

Romance

Other precursors can be found in the literary fiction of the 18th and 19th centuries, including 's 1740 and the novels of. Austen inspired , the British author of historical romance set around the time Austen lived, as well as. Heyer's first romance novel, The Black Moth 1921 , was set in 1751. The company began releasing for women in the 1930s. Their books were sold in by , which began to readers and allowing merchandisers to carry the books. When the hero and heroine meet and fall in love, maybe they don't know they're in love but the reader does. Then a conflict will draw them apart, but you know in the end they'll be back together, and preferably married or planning to be by page 192. Both the conflict and the climax of the novel should be directly related to that core theme of developing a romantic relationship, although the novel can also contain that do not specifically relate to the main characters' romantic love. Some romance novel authors and readers believe the genre has additional restrictions, from plot considerations such as the ' meeting early on in the story , to avoiding themes such as. Other disagreements have centered on the firm requirement for a happy ending; some readers admit stories without a happy ending, if the focus of the story is on the between the two main characters e. While the majority of romance novels meet the stricter criteria, there are also many books widely considered to be romance novels that deviate from these rules. Therefore, the general definition, as embraced by the RWA and publishers, includes only the focus on a developing romantic relationship and an optimistic ending. As long as a romance novel meets those twin criteria, it can be set in any time period and in any location. There are no specific restrictions on what can or cannot be included in a romance novel. Even controversial subjects are addressed in romance novels, including topics such as date rape, domestic violence, addiction, and disability. The combination of time frame, location, and plot elements does, however, help a novel to fit into one of several romance subgenres. For instance, some believe that all romance novels are similar to those of , featuring rich, glamorous people traveling to exotic locations. Many romance readers disagree that Steel writes romance at all, considering her novels more mainstream fiction. While some romance novels do contain more erotic acts, in other romance novels the characters do no more than kiss chastely. The romance genre runs the spectrum between these two extremes. Because women buy 90% of all romance novels, most romance novels are told from a woman's viewpoint, in either or. A nineteenth-century painting by the Swiss-French painter depicting a scene from 's While this article is about the mass-market form of love romance novels, the genre of works of extended prose fiction dealing with romantic love existed in classical Greece. The titles of over twenty such are known, but most of them have only survived in an incomplete, fragmentary form. Only five ancient Greek romance novels have survived to the present day in a state of near-completion: , , , , and. Precursors of the modern popular love-romance can also be found in the , by , published in 1740. Pamela was the first popular novel to be based on a courtship as told from the perspective of the heroine. Unlike many of the novels of the time, Pamela had a happy ending, when after Mr. B attempts unsuccessfully to seduce and rape Pamela multiple times, he eventually rewards her virtue by sincerely proposing an equitable marriage to her. The book was one of the first bestsellers, with five editions printed in the first eleven months of release. In the early part of the , the , like Austen, wrote that influenced later popular fiction. In 1919, 's novel was published in the. The novel, which became hugely popular, was adapted into a 1921 , which established star as the top male actor of the time. The hero of this book was an iconic who kidnapped the heroine and won her admiration through his forceful actions. The novel was one of the first modern works to introduce the , a theme explored in Samuel Richardson's Pamela 1740. Although women were gaining more independence in life, publishers believed that readers would only accept premarital sex in the context of rape. In this novel and those that followed, the rape was depicted as more of a fantasy; the heroine is rarely if ever shown experiencing terror, stress, or trauma as a result. The popular, mass market version of the , which developed in the early 19th century, is seen as beginning in 1921, when published The Black Moth. This is set in 1751, but many of Heyer's novels were inspired by Jane Austen's novels and are set around the time Austen lived, in the later. Because Heyer's romances are set more than 100 years earlier, she includes carefully researched historical detail to help her readers understand the period. Unlike other popular love-romance novels of the time, Heyer's novels used the setting as a major plot device. Her characters often exhibit twentieth century sensibilities, and more conventional characters in the novels point out the heroine's eccentricities, such as wanting to marry for love. Heyer was a prolific author, and wrote one to two historical romance novels per year until her death in 1974. Rise of the category romance In the 1930s, the British publishers began releasing hardback romance novels. In the 1950s, the company began offering the books for sale through newsagents across the United Kingdom. A Canadian company, , began distributing in North America in 1957 the category romances published by Mills and Boon. Mary Bonneycastle, wife of Harlequin founder Richard Bonneycastle, and her daughter, Judy Burgess, exercised editorial control over which Mills and Boon novels Harlequin reprinted. Realizing that the genre was popular, Richard Bonneycastle finally decided to read a romance novel. He chose one of the more explicit novels and enjoyed it. On his orders, the company conducted a market test with the novel he had read and discovered that it outsold a similar, tamer novel. Overall, the novels were short and formulaic, featuring heroines who were sweet, compassionate, pure and innocent. The few heroines who worked did so in traditional female jobs, including as , and. Intimacy in the novels never extended beyond a chaste kiss between the protagonists. On October 1, 1971, Harlequin purchased Mills and Boon. In an attempt to duplicate Mills and Boon's success in North America, Harlequin improved their distribution and marketing system. Harlequin then began a reader service, selling directly to readers who agreed to purchase a certain number of books each month. The novel went on to sell 2. Avon followed its release with the 1974 publication of Woodiwiss's second novel, The Wolf and the Dove and two more sexually graphic novels by newcomer , Sweet Savage Love and Dark Fires. The latter sold two million copies in its first three months of release. The following year over 150 historical romance novels, many of them paperback originals, were published, selling over 40 million copies. The success of these novels prompted a new style of writing romance, concentrating primarily on historical fiction tracking the monogamous relationship between a helpless heroine and the hero who rescued her, even if he had been the one to place her in danger. The covers of these novels tended to feature scantily clad women being grabbed by the hero, and caused the novels to be referred to as bodice-rippers. In this new style of historical romance, heroines were independent and strong-willed and were often paired with heroes who evolved into caring and compassionate men who truly admired the women they loved. This was in contrast to the contemporary romances published during this time, which were often characterized by weak females who fell in love with overbearing. The women were , while the men were not, and both members of the couple were described as beautiful. Category romance adapts Category romance lines were slower to react to some of the changes that had swept the historical romance subgenre. That year the company began distributing its own books in the United States instead of through 's. The company sought to take advantage of the untapped talent of the American writers. They published several lines of category romance, and encouraged their writers to create stronger heroines and less dominant heroes. Authors were also expected to address contemporary issues where appropriate. Silhouette soon saw their market share expand, and in 1984, Harlequin acquired them. Despite the acquisition, Silhouette continued to retain editorial control and to publish various lines under their own imprint. Harlequin had also failed to adapt quickly to the signs that readers appreciated novels with more explicit sex scenes, and in 1980, several publishers entered the category romance market to fill that gap. That year, Dell launched their Candlelight Ecstasy line with 's The Tawny Gold Man, becoming the first line to waive the requirement that heroines be virgins. Silhoeutte also launched similar lines, Desire sexually explicit and Special Edition sexually explicit and longer stories, up to 250 pages , each of which had a 90—100% sellout rate each month. A 1982 survey of romance readers confirmed that the new styles of writing were attracting new readers to the genre. An additional 31% of those surveyed had been readers for between 6 and 10 years, meaning they had become interested in the genre after 1972, when Woodiwiss's revolutionary novel was published. This means that two-thirds of those surveyed joined the genre after it had begun to change. The number of category romance lines increased at a rapid pace, and by 1985 there were 16 separate lines producing a total of 80 novels per month. The sudden increase in category romance lines meant an equally sudden increase in demand for writers of the new style of romance novel. This tight market caused a proportionate decrease in the quality of the novels that were being released. By 1984, the market was saturated with category lines and readers had begun to complain of redundancy in plots. Further change The genre continued to expand in the mid-to-late 1980s, as publishers realized that the more popular authors were often those who stretched the boundaries of the genre. A 1984 novel by featured an overweight, middle-aged hero who had to make drastic changes to his lifestyle to win the heroine, while a 1987 Dailey novel involved an ugly hero and a heroine who was searching for her birth mother. The relationships had also modernized: by the 1990s, it was rare to see a book that featured a man raping his future wife. In the mid-to-late 1980s, contemporary romances began to feature women in more male-dominated jobs, such as offshore oil rigs and the space program. The age range of heroines also began to expand, so that books began to feature women who had already reached 30 and even 40. Heroes also changed, with some authors veering towards a more sensitive man. Despite the broadening of some aspects of the plot, other taboos remained, and publishers discouraged authors from writing about controversial subjects such as terrorism, warfare, and masculine sports. Romance novels began to contain more humor beginning in the 1990s, as began introducing a great deal of humor into her historical romances. The romance novel began to expand in other ways as well. In 1989, author became the first romance author to transition from writing original mass market paperbacks to being published in hardcover. Because the novels were set in modern times, they could include more of the elements that modern women could relate to, and soon began to touch on themes such as single parenthood, adoption, and abuse. By 2000, the covers had begun to evolve from featuring a scantily clad couple to instead showing a view of the landscape featured in the novel. As women's career options have expanded in real life, so have those of their fictional counterparts. In the earliest Harlequin romance novels, heroines were typically nurses and secretaries. As time has passed and women have entered the workforce in larger numbers, romance heroines have spanned the career spectrum. Modern romance novels now feature more balanced relationships between men and women. The romance genre has been popularly derided and critically ignored. Despite recent rehabilitation and merging of the genre with other genres, the stigma attached to the romance genre continues to be strong, with some dedicated readers embarrassed to admit to buying or even reading the books. The romance genre has over the years generated significant derision, skepticism and criticism. Harlequin novels Category romances are short, usually no more than 200 pages, or about 55,000 words. The books are published in clearly delineated lines, with a certain number of books published in each line every month. In many cases, the books are numbered sequentially within the line. These novels have widespread distribution—often worldwide—and a single U. Writers for the largest publisher of category romance, , can find their novels translated into 26 languages and sold in over 100 international markets. Subplots and minor characters are eliminated or relegated to the backstory. Publishers of category romances usually issue guidelines for each line, specifying the elements necessary for a novel to be included in each line. Depending on the current market and perceived reader preferences, publishers frequently begin new lines or end existing ones. Most recently, erotic and lines have been introduced while traditional lines have ended. Single-title romances Single-titles novels are romance novels not published as part of a publisher's category. They are longer than category romances, typically between 350 and 400 pages, or 100,000-110,000 words. Publishers may release the novels over a shorter period of time for sales and publicity reasons, but on average authors write 1. Single-title novels remain on the booksellers' shelves at the discretion of the store. Despite their name, single-title novels are not always stand alone novels. Some authors prefer to write several interconnected books, ranging in number from trilogies to long-running series, so that they can revisit characters or worlds. Subgenre Popularity in the United States 2006 Subgenre % of market Category romance 40% Historical romance 17% Contemporary romance 16% Paranormal romance 9% Romantic suspense 7% Inspirational romance 6% All others 5% Because the definition of a romance novel does not limit the types of plot devices, time frames, or locations that can be included, the genre has grown to encompass a wide variety of material and spawned multiple subgenres. Subgenres of romance are often closely related to other literature genres, and some books could be considered a romance subgenre novel and another genre novel at the same time. For example, romantic suspense novels are often similar to , and , and use elements popular in and novels. Contemporary romance Main article: Contemporary romance, which is set after , is often what people mean when they refer to a romance novel. Contemporary romance novels—the largest subgenre—are set in the time when they are written, and usually reflect the mores of that time. Heroines in contemporary romances prior to 1970 usually quit working when they marry or have children—while heroines after 1970 usually have, and keep, a career. As contemporary romance novels have grown to contain more complex plotting and more realistic characters, the line between this subgenre and the genre of women's fiction has blurred. Most contemporary romance novels contain elements that date the books. The majority of them eventually become irrelevant to more modern readers and go out of print. Those that survive the test of time, such as 's work, are often reclassified as historical romances. Over half of the romantic fiction published in the United States in 2004 1468 out of 2,285 books were contemporary romance novels. Contemporary romance novels have twice been chosen by to be featured in her Reading with Ripa book club. Historical romance Main article: Historical romance, also known as , is a broad category of which the plot takes place in a setting located in the past, which helped popularize in the early 19th-century, with works such as and. However, the focus here is on the genre. This subgenre includes a wide variety of other subgenres, including. Mass-market historical romance novels are rarely published in hardcover, with fewer than 15 receiving that status each year, less than one-fifth of the number of contemporary romance novels published in that format. Because historical romances are primarily published in mass-market format, their fortunes are tied to a certain extent to the mass-market trends. Booksellers and large merchandisers now sell fewer mass market paperbacks, preferring trade paperbacks or hardcovers, which prevents historical romances from being sold in some price clubs and other mass merchandise outlets. In 2001, 778 mass-market historical romances were published, a 10-year high. By 2004, the annual number had dropped to 486, which was still 20% of all romance novels published. Kensington Books says they receive fewer submissions of historical novels, and their previously published authors have switched to contemporary. Romantic suspense Romantic suspense involves an intrigue or mystery for the protagonists to solve. Typically, however, the heroine is the victim of a crime or attempted crime, and works with a hero, who tends to be in a field where he would serve as a protector, such as a police officer, , bodyguard, or. By the end of the novel, the mystery is resolved and the interaction between the hero and heroine has evolved into a solid relationship. These novels primarily take place in contemporary times, but authors such as have broadened the genre to also include historical timeframes. Like all romances, romantic suspense novels must place the development of a relationship between the protagonists at the heart of the story. In turn, the events of suspense must also directly affect the relationship and move the story forward. Because the mystery is a crucial aspect of the plot, these novels are more plot-driven instead of character-driven. This blend of the romance and mystery was perfected by , who wrote ten romantic suspense novels between 1955 and 1967. Stewart was one of the first to seamlessly combine the two genres, maintaining a full mystery while focusing on the courtship between two people. Paranormal romance Main article: Paranormal romance blends the real with the fantastic or science fictional. These novels often blend elements of other subgenres—including suspense, mystery, or chick lit—with their fantastic themes. A few paranormal romances are set solely in the past and are structured much like any historical romance novel. Others are set in the future, sometimes on different worlds. Still others have a time-travel element with either the hero or the heroine traveling into the past or the future. Between 2002 and 2004, the number of paranormal romances published in the United States doubled to 170 per year. A popular title in the genre can sell over 500,000 copies. Many paranormal romances rely on the blend of contemporary American life with the existence of supernatural or magically empowered beings, human or otherwise. Sometimes the larger culture is aware of the magical in its midst; sometimes it is not. Some paranormal romances focus less on the specifics of their than do traditional science fiction or fantasy novels, keeping the attention strongly on the underlying romance. Others develop the meticulously, combining well-planned magical systems and inhuman cultures with contemporary reality. This genre has become more popular since 2000. In most, the heroine is from the present day and travels into the past to meet the hero. In a smaller subset of these novels, the hero, who lives in the past, travels forward into his future to meet the heroine. A successful time-travel romance must have the characters react logically to their experience and should investigate some of the differences, both physical and mental, between the world the character normally inhabits and the one where they landed. Some writers end their novels with the protagonists trapped in different time periods and unable to be together—to the displeasure of many readers of the genre. Inspirational romance Inspirational romance, as the market exists today, combines explicitly themes with the development of a romantic relationship. In 2004, 167 novels were published in the inspirational romance subgenre. These novels typically do not include gratuitous violence or swearing, and the central courtship is chaste. Sex, if it is present at all, occurs after marriage and is not explicitly detailed. The first line of series inspirational romances debuted shortly after the , when Silhouette launched their Silhouette Inspirations line. The books were aimed at and were marketed in religious bookstores. The Silhouette Inspirations line was closed after Harlequin acquired Silhouette in 1984 because it was not profitable. However, other Christian publishers continued to produce romance novels, including historical and contemporary, and Harlequin later rejoined the market with the 1998 launch of its Steeple Hill and Love Inspired lines. The first line of multicultural romance novels, Arabesque, was launched by Kensington books in 1994. BET Books purchased the line in 1998, and the number of new authors that they publish has continued to expand each year. BET has also developed some of the Arabesque novels into made-for-television movies. In 1999, Kensington Publishing launched the first line of Latino romance novels - ENCANTO. Two novels were published every month until late 2001, when the line went into hiatus. Despite the demise of the line, several of the ENCANTO authors have continued writing novels with Latino protagonists namely, Sylvia Mendoza, Tracy Montoya, Caridad Pineiro, Berta Platas, Lara Rios and Lynda Sandoval. Although romance novels featuring African-Americans and Hispanic protagonists are becoming more popular, those featuring Asian or Asian-American characters are rare. Erotic romance novels are characterized by strong sexual content, but can contain elements of any of the other romance subgenres. Erotic romance novels tend to use more frank language, avoiding many of the euphemisms used in books with milder content. These novels also usually include more sex scenes, often focusing more on the sex act rather than being a more traditional love scene, and may include more unusual positions or acts. Despite a greater emphasis on the sex scenes, however, erotic romance is distinguishable from traditional. Pornography concentrates on the sex acts, but erotic novels include well-developed characters and a plot that could exist without the sex acts. Erotic romances' lengths run from short stories to single-title novels. Some of these are published as part of a category, such as Harlequin Blaze, while others are published as part of an anthology and are only length. Even single-title erotic romances may be as short as a novella, however. Many of the publishers of erotic romance are either publishers or publishers. Writers often have more leeway as to what types of erotic acts can be included when working with an electronic publisher than they would have when working with a print publisher. The market for erotic romances has been growing rapidly, leading some publishers to create new lines for these types of books. Some subjects are still considered taboo, even with erotic romance. Themes such as pedophilia, incest, and bestiality are discouraged by all publishers. The market for erotic romances has grown rapidly. The women admitted to reading romances as an antidote to stress, for mental escape, and to learn about history and new careers. As of 1982 at least 25% of all paperbacks were romance novels; by 1991, they comprised 46% of all mass market paperbacks sold in the US. This expansion was due in part to voracious readers, with over half of Harlequin's customers purchasing 30 novels per month. By this time, the romance novel audience had become more educated, with 45% having a college degree, and more than half of the audience worked outside the home. By the 2000s, romance had become the most popular genre in modern literature. Over 74 million people claimed to have read at least one romance novel in 2008, according to a Romance Writers of America study. The study reported that 9. According to the RWA 84% of romance buyers were women and 16% were men. Of the entire American population, 24. Harlequin sells more than 4 books per second, half of them internationally. Although romance novels are translated into over 90 languages, the majority of authors of these works are from Great Britain, the United States, Canada or, to a lesser extent, Australia. In France, where over 12 million romance novels are sold each year, all are translations. The perspective in the fiction at times can be much less successful in a European market. Although Italy is the strongest foreign market for the chick lit sold by single-title imprint Red Dress Ink, in that country romance readers do not care to read books about , as this type of occupation was not common in their culture. The paranormal romance genre is not popular in countries such as Poland and Russia, although historical romance tends to be very successful. Inspirational romance does not sell well in Europe, where romances that feature babies are very popular. German readers enjoy reading more erotic romance novels, and some German translations of English romance novels expand or insert love scenes into otherwise tame stories. The alternate scenario also occurs, as other German translators censor the love scenes. As of 2014, romance is the most popular literary genre in Russia chosen 13% of respondents , especially among the younger audience. In 2004, sales of romance novels in Australia increased 28% over the year before. 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Romances that have Arthur or some of his knights as main characters were classified as by fl. The few jesus who worked did so in traditional female jobs, including asand. Perfect Blue, Ergo Proxy, Serial Experiments Lain, and Paranoia Agent. The humor might be rather dark, and quite a number of times, it certainly is. These novels emphasize the specific concerns of gay lovers. U 3: The Count of Monte Cristo By Alexander Dumas One more example of romance is The Count of Monte Cristo, romance genre examples by French author Alexander Dumas, in 1844. They could have slightly different core values that require some mutual compromise. More cerebral narratives are present as well. As con as a romance novel meets those twin criteria, it can be set in any time period and in any location. Barbara Cartland was a British writer who wrote 723 romance novels before her death in 2000. Harlequin then began a reader service, selling directly to readers who north to purchase a certain number of books each month.