The History of the Romance Novel

     Though love and romance have long been a part of the literary world, the romance novel as we know it today originated in the early twentieth century in England. The publishing firm of Mills & Boon, established in 1908, brought o…

     Though love and romance have long been a part of the literary world, the romance novel as we know it today originated in the early twentieth century in England. The publishing firm of Mills & Boon, established in 1908, brought out the work of such authors as Agatha Christie and Jack London--and also published romantic fiction. The firm soon realized that its hardcover romances, sold mostly to libraries, were more in demand than many of its regular titles. As the years passed, romantic fiction outstripped other book sales by even greater margins, and eventually the firm dropped other types of books in order to concentrate on publishing romantic novels.

     In the late 1950s, the success of Mills & Boon romances was noted by a Canadian publishing company, Harlequin Books, which began publishing Mills & Boon books North America as Harlequin Romances. The two firms merged in the early 1970s, with Mills & Boon becoming a branch office of Harlequin. Harlequin began setting up independent publishing offices around the world and started to publish romances in translation. In 1981, the firms became a division of the Torstar Corporation, a Canadian communications company.

     For a number of years, Mills & Boon continued to be the sole acquiring editorial office, buying books from British authors. Though it began publishing American author Janet Dailey in the 1970s, Mills & Boon didn't truly open up to other American authors until the early 1980s.

Leigh Michaels, On Writing Romance, 2007

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The Demise of Literary Fiction

I think literary fiction has fallen prey to campus navel gazing and has lost touch with ordinary humanity. And it has the audience to prove it.Jack Hart in Telling the Story by Peter Rubie, 2003

I think literary fiction has fallen prey to campus navel gazing and has lost touch with ordinary humanity. And it has the audience to prove it.

Jack Hart in Telling the Story by Peter Rubie, 2003

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Albert Camus on Lying Politicians

Every time I hear a political speech…I am horrified at having, for years, heard nothing which sounded human. It is always the same words telling the same lies. And the fact that men accept this, that the people’s anger has not destroyed these hollow …

Every time I hear a political speech...I am horrified at having, for years, heard nothing which sounded human. It is always the same words telling the same lies. And the fact that men accept this, that the people's anger has not destroyed these hollow clowns, strikes me as proof that men attribute no importance to the way they are governed; that they gamble--yes gamble--with a whole part of their life and their so-called "vital interests."

Albert Camus, novelist and philosopher (1913-1960) in The Writer's Life (1997) edited by Carol Edgarian and Tom Jenks

[It seems that nothing has changed since Camus' death.] 

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Turning Tragedy into Humor

     Unlike tragedy, a sense of humor is determined by many factors: our age, our socioeconomic backgrounds, our culture. What most of us consider tragic is fairly static, though something tragic can be made funny by comic techniques suc…

     Unlike tragedy, a sense of humor is determined by many factors: our age, our socioeconomic backgrounds, our culture. What most of us consider tragic is fairly static, though something tragic can be made funny by comic techniques such as repetition. In Nathanael West's A Cool Million, the hero keeps losing limbs and other parts of himself as he makes his way in the world until there is very little that's left of him. You lose one limb or all your limbs at once, that's tragic. But if you lose them little by little, as well as an eye, your teeth, your hair, you start defying logic, and once you've transcended logic, most people will laugh in spite of themselves, even if they find something a little horrifying at the same time.

     Simply put, tragedy has serious and logical consequences. Cause and effect. Comedy usually doesn't. You throw a person off a tall building in a comedy, he bounces. You throw someone off a building in a tragedy, don't wait for the bounce.

Robin Hemley in How to Write Funny, John B. Kachuba, editor, 2001 

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Memoirs and The Culture of Public Confession

Memoirs are no longer reserved for those who have climbed the Himalayas or swum the Atlantic. On the contrary, what is valued are the ordinary accounts of ordinary people about ordinary things. The market is swamped with products which c…

Memoirs are no longer reserved for those who have climbed the Himalayas or swum the Atlantic. On the contrary, what is valued are the ordinary accounts of ordinary people about ordinary things. The market is swamped with products which claim reality--from [TV] soap operas, which people believe more than life itself, to real-life stories, which people believe as much as soap operas. In the culture of public confession, everyone has acquired the right to his personal fifteen minutes, just as Andy Warhol predicted.

Dubravka Ugresic, Thank You For Not Reading This, 2003

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The Perception Versus The Reality of Crime

Whether we live in a more violent age than did, for example, the Victorians is a question for statisticians and sociologists, but we certainly feel more threatened by crime and disorder than at any other time I remember in my long life. This constant a…

Whether we live in a more violent age than did, for example, the Victorians is a question for statisticians and sociologists, but we certainly feel more threatened by crime and disorder than at any other time I remember in my long life. This constant awareness of the dark undercurrents of society and human personality is probably partly due to the modern media, when details of the most atrocious murders, of civil strife and violent protests, come daily into our living rooms from television screens and other forms of modern technology. Increasingly writers of crime novels and detective stories will reflect this tumultuous world in their work and deal with far greater realism than would have been possible in the Golden Age [of mystery fiction 1920-1940]. The solving of the mystery is still at the heart of a detective story but today it is no longer isolated from contemporary society. We know that the police are not invariably more virtuous and honest than the society from which they are recruited, and that corruption can stalk the corridors of power and lie at the very heart of government and the criminal justice system.

P. D. James, Talking About Detective Fiction, 2009 

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The Police Procedural in Crime Fiction

Like its first cousin, the mystery novel, the police procedural features a well-structured, fast-paced chronicle of crimes and punishments. Unlike the mystery, the police procedural stresses the step-by-step procedures followed by professional detectiv…

Like its first cousin, the mystery novel, the police procedural features a well-structured, fast-paced chronicle of crimes and punishments. Unlike the mystery, the police procedural stresses the step-by-step procedures followed by professional detectives in solving their cases: processing the crime scene to collect physical evidence; canvassing the neighborhood for witnesses or suspects; postmortem examination of the body to determine the cause and manner of death; identifying the victim; tracing the background of the victim; investigating associates of the victim; examining the method of operation of the perpetrator; and continuing with the follow-up investigation.

O'Neil DeNoux in The Writer's Handbook, edited by Sylvia K. Burack, 1994 

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Raymond Chandler on Ernest Hemingway

Raymond Chandler [a noted and literary twentieth century crime novelist] wrote a sentence true of [Ernest] Hemingway and himself: “I suppose the weakness, even the tragedy of writers like Hemingway is that their sort of stuff demands an immense vitalit…

Raymond Chandler [a noted and literary twentieth century crime novelist] wrote a sentence true of [Ernest] Hemingway and himself: "I suppose the weakness, even the tragedy of writers like Hemingway is that their sort of stuff demands an immense vitality; and a man outgrows his vitality without unfortunately outgrowing his furious concern with it."

Michael Schmidt, The Novel: A Biography, 2014 

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Not Everyone is a Sherlock Holmes Fan

Reading ten Leslie Charteris novels in succession cruelly highlights his weaknesses. Likewise Agatha Christie and even Arthur Conan Doyle. “Sherlock Holmes after all is mostly an attitude and a few dozen lines of unforgettable dialogue,” wrote Raymond …

Reading ten Leslie Charteris novels in succession cruelly highlights his weaknesses. Likewise Agatha Christie and even Arthur Conan Doyle. "Sherlock Holmes after all is mostly an attitude and a few dozen lines of unforgettable dialogue," wrote Raymond Chandler. And once you'd grasped the attitude and heard the lines, why read on?

John Baxter, A Pound of Paper, 2003 

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Robert Barnard on Hard-Boiled Detective Fiction

We must cut off the modern detective story from the novel proper, put it in quite another category, one with its own traditions, conventions and demands, and thus develop a completely independent critical approach to it. I feel, in fact, that however w…

We must cut off the modern detective story from the novel proper, put it in quite another category, one with its own traditions, conventions and demands, and thus develop a completely independent critical approach to it. I feel, in fact, that however we react to novels of the American hard-boiled school, nothing but harm can be done by an attempt to see them as "realistic" or closer to the novel proper than other varieties of crime fiction.

Robert Barnard, A Talent to Deceive, 1990 

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