A category all its own

As you know, I’ve thinking about how to categorise what I write. I’ve also been talking with a friend about the apparent great divide in what historical fiction readers, particularly Regency era readers, like to read.

We’ve noticed that some readers are passionate about stories where the heroes and heroines behave in ways they understand — like modern men and women — and even totally reject stories where heroes and heroines follow the dictates of the time. Other readers are the opposite. They will be very hard on an author whose heroes and heroines don’t behave as they think a Regency-era person would have.

I read and enjoy both kinds. All I ask is a good writer and a convincing story, and I know I’m not the only one. But in the interests of those who are disappointed by the wrong book, perhaps we need some new genre segments so that readers can find what they want.

Here’s my attempt at some definitions.

Historical modern

This describes a large group of popular Regencies and many Medievals. The focus is on the romantic relationship. Any subplots are completely subsidiary to the romantic plot. The heroine thinks, talks, and often acts like a modern woman. She is sometimes castigated or shunned for this, but she has support from either family or a close knit group of friends. The hero respects and supports the heroine’s right to be an independent thinker and to act according to her principles, even if this brings her straight up against those who hold a more traditional line. The landscape abounds in dukes and other peers, and even seamstresses of dubious origins can expect to marry one.

I love these. At their best, they are perfect escapist reading. Every heroine is beautiful in the eyes of every charming hero, and they are all charming. Cinderella will go to the ball. Marriages of convenience prove to be love matches, and rescued chimney sweeps (every heroine is charity personified and an environmentalist as well) go on to join the household of happy servants whose lives revolve around our lovely couple. The best authors provide reasons why this particular man has missed the misogyny and arrogance of his class, and why this particular woman is better educated and less restricted by her social conditioning than hers.

If you haven’t read Tessa Dare, Eloisa James, Sophie Jordan, Sally MacKenzie, Katherine Ashe, Lisa Kleypas, Courtney Milan or any of their peers, now’s good! Suspend your disbelief and settle in for a gay romp.

Historical traditional

Do you like your story to focus mostly on the romance, but for your characters to be truer to the historical setting? This segment of the historical romance genre gives us heroes and heroines who act within the constraints of their Society, but who nonetheless give us a charming story and a happy ending. Expect a focus on Society and on events such as morning calls, balls, house parties, and other entertainments.

Again, I love them. Expect a lovely light touch, delightful heroines, and a variety of heroes not all of whom carry high titles. In these books, our heroines might defy Society, but they pay the price. Or, they hide their real selves in order to fit in.

Try Candice Hern, Mary Balogh, some of Carla Kelly, Jo Beverley, Edith Layton, Carola Dunn, Anne Gracie. These were where I started. I read every traditional historical I could find, and only later moved outside of that genre..

Historical that happens to be Regency

I think this is what I write. In one of these, the historical events, whether fictional or non-fictional, are true to their times and have a strong presence in the book, often even shaping the plot. In such books, the romance plot line is still important, but might not be the only important plot line. The characters act according to their times, though of course some people in every time have been forward (or backward) thinking, and personal circumstances can shape a person to stand against social expectations.

They tend to be grittier and more confronting than the other two types, and you come out of them thinking again about attitudes and events you thought you understood. If you haven’t read Caroline Warfield, you’re missing a treat, though her Victorian series is stronger in this than her Regency series. That said, most of the other authors I can think of are writing Victorian, too. Meredith Duran, anyone? We could apply the same segmentation to other eras, I guess.

Historical modern can overlap into Historical that happens to be Regency. One of my all-time favourites is Grace Burrows’ Captive Hearts series. Out of era, but Elizabeth Hoyt’s Maiden Lane series and Jessica Cale’s Southwark series are both in this part of the spectrum. I’d put much of Mary Jo Putney in here, too.

Historical traditional can also overlap. Carla Kelly does this wonderfully well.

Which one has the steam?

The simple answer is: all of them. I’ve read authors in each of my segments who write at the ‘sweet’ end of the scale, and authors whose characters set flame to the pages. The same applies to cursing, expletives, and rude words for anything to do with copulation. Violence? You’ll find that across all segments, too.

I’d love to do a diagram, but I’ve run out of time.

Your turn to comment

What do you think of these categories? Do you agree with where I’ve put certain writers? Can you think of others? Do you read them all? Which do you prefer?