This
week I’m reprinting a blog post from July 15, 2019. I originally wrote it for the
Indiana Writers’ Consortium blog, where it appeared on February 21, 2018.
Mixing
Creativity and Formula
I’m tired of
hearing people run down so-called genre fiction because it follows a formula,
as if that means it lacks creativity.
Yes, some genre fiction is only minimally creative, but that’s the fault
of the author, not the genre.
Take romance,
which is often cited as the archetype of formula fiction. I don’t write romance
and rarely read it because I have limited time and generally prefer other types
of novels. But I do read it occasionally, and one of my favorite authors fits
perfectly into the romance “formula.” More about her later.
Here is the
definition of the “Romance Genre” found on the Romance Writers of America’s
website at www.rwa.org/the-romance-genre.
Two basic elements comprise every romance novel: a
central love story and an emotionally satisfying and optimistic ending.
A
Central Love Story: The main plot centers around individuals
falling in love and struggling to make the relationship work. A writer can
include as many subplots as they want as long as the love story is the main
focus of the novel.
An
Emotionally Satisfying and Optimistic Ending: In a romance,
the lovers who risk and struggle for each other and their relationship are
rewarded with emotional justice and unconditional love.
This “formula”
leaves a lot of room for creativity. As the RWA website goes on to say,
“Romance novels may have any tone or style, be set in any place or time, and
have varying levels of sensuality—ranging from sweet to extremely hot.”
Setting, characterization, plot twists, word choice, and many other elements of
romance writing provide as much opportunity for creativity as literary and
experimental fiction do.
For illustration,
here are summaries of three stories written by my favorite romance novelist.
All three books have (1) a central love story developed through a main plot
that centers around individuals falling in love and struggling to make the
relationship work and (2) an emotionally satisfying and optimistic ending where
the lovers’ struggles result in emotional justice and unconditional love. See
if you can identify the books and/or the author.
- The two protagonists love each other even before
the novel begins, but a well-meaning friend causes her to reject his
marriage proposal. When they meet again years later, events,
misunderstandings, and the romantic intentions of other parties conspire
to keep them from renewing their relationship. Eventually, however, the
protagonists realize that they are meant for each other and find happiness
together.
- The female protagonist is brought up by her aunt
and uncle but is treated as a poor relation. When she falls in love with
one of her cousins, she keeps her attraction secret because she knows his
family would never consent to a marriage between them. But when the
consequences of the family’s shaky values threaten to ruin their social
position, the protagonist’s inner worth shines through and the lovers are
united at last.
- When the protagonists first meet, neither likes
the other. They are continually thrown together, and the male protagonist
falls in love in spite of himself. He grudgingly proposes, is rejected,
and leaves. Soon after, the female protagonist’s sister elopes and
threatens to bring disgrace to her family. After the male protagonist
spends time and money to secure the marriage, the female protagonist
realizes that she loves him after all. But it is too late! No, it isn’t.
This is formula romance, and the two lovers end up together after all.
By now, you will
have guessed that I’m talking about Jane Austin. Here are the titles that go
with the summaries: (1) Persuasion,
(2) Mansfield Park, and (3) Pride and Prejudice. I could have used
many more examples, since Emma, Sense and Sensibility, and Northanger Abbey all follow the same
formula.
I’m not saying
that everyone should write to a formula. On the contrary, the world would be a
barren place without any love stories that end in tragedy or authors who dare
to try something new.
But I am saying
this: don’t condemn genre novels that write to a formula, because creativity
and formula CAN mix.
