Episode 5 - Harlequin Romances cover art

Episode 5 - Harlequin Romances

Episode 5 - Harlequin Romances

Listen for free

View show details

About this listen

 Episode Description This episode of Trashy takes a deep, unsentimental look at Harlequin romance novels, the most industrialized, rule-bound, and commercially successful form of popular fiction of the last seventy-five years. What began in postwar Canada as a modest paperback reprint operation became a global publishing machine that trained readers to expect very specific emotional rhythms, moral frameworks, and romantic outcomes, delivered on a strict monthly schedule. We trace the history of Harlequin Enterprises, founded in Winnipeg in 1949, and its pivotal 1957 distribution deal with Britain’s Mills & Boon. That partnership locked Harlequin into a highly controlled romance format built around short novels, consistent word counts, conservative sexual politics, and a belief that readers wanted familiarity more than surprise. By the 1970s and 1980s, Harlequin was selling well over 100 million books a year worldwide, largely through supermarkets, drugstores, and subscription programs. The episode explains how Harlequin’s category romance system worked in practice. Editors enforced detailed guidelines governing plot, tone, character behavior, and even acceptable professions for heroes and heroines. Lines such as Harlequin Presents and Harlequin Romance functioned almost like television genres, training readers to know exactly what kind of story they were buying before opening the cover. Doctors, tycoons, ranchers, and emotionally unavailable men were not accidents but structural requirements. We also look at the writers who thrived inside this system and those who used it as a stepping stone. Figures like Barbara Cartland, Penny Jordan, Debbie Macomber, and Nora Roberts built massive readerships by mastering the form, while the rise of longer, more explicit romances in the 1970s began to strain Harlequin’s carefully policed boundaries. The episode closes by examining Harlequin’s reputation as a “guilty pleasure,” the gendered contempt directed at its readers, and why these books mattered culturally even when critics refused to take them seriously. Topics Covered The founding of Harlequin in 1949 The Mills & Boon partnership and British influence Category romance and enforced narrative formulas Harlequin Presents vs. Harlequin Romance Author guidelines, word counts, and editorial control Supermarket distribution and subscription readers Feminist critiques and reader loyalty Harlequin’s move into ebooks and digital platforms Key Books & Turning Points The Flame and the Flower by Kathleen Woodiwiss , and the shift toward longer, more sexually explicit romance The late-1970s softening of Harlequin’s “no sex” rules The rise of branded romance lines as consumer signals Links & Further Reading Harlequin official sitehttps://www.harlequin.com Harlequin corporate historyhttps://www.harlequin.com/about-us Mills & Boon historyhttps://www.millsandboon.co.uk/about-us/our-history/ Smithsonian Magazine – history of Harlequin romancehttps://www.smithsonianmag.com/arts-culture/the-history-of-the-harlequin-romance-180975015/ New York Times – Harlequin and the romance businesshttps://www.nytimes.com/2019/06/15/books/romance-novels-harlequin.html The Atlantic – in defense of romance novelshttps://www.theatlantic.com/entertainment/archive/2014/12/in-defense-of-romance-novels/383212/ Nora Roberts official sitehttps://noraroberts.com Debbie Macomber official sitehttps://www.debbiemacomber.com Why This Is Trashy Identical covers. Mandatory happy endings. Emotional satisfaction engineered at scale. Harlequin romance didn’t just sell love stories. It sold predictability, comfort, and fantasy by the millions, and that makes it pure Trashy. This podcast is powered by Pinecast.
No reviews yet
In the spirit of reconciliation, Audible acknowledges the Traditional Custodians of country throughout Australia and their connections to land, sea and community. We pay our respect to their elders past and present and extend that respect to all Aboriginal and Torres Strait Islander peoples today.