Warning: Here Be Spoilers on HEA in Romance
The HEA in romance has always been a none of contention with detractors. But to be considered a romance, a book must have a happy ending. Just as every detective novel must include a mystery to solve. That’s the only rule for the genre.
Some older romances played fast and loose with expectations, especially ones published during the bodice ripper heyday. In the past, some novels–and even many today–attempted to defy that inviolable law. Doing so inevitably angers readers because if there’s one thing writers are not supposed to mess with, it’s The Happy Ending.
Not all romances end with the couple–or whatever permutation–married with a dozen babies. Regardless, there’s an expectation of a committed relationship that will last the test of time.
But what about those romances that broke the HEA rule? What are those books, and what is their legacy? Let’s examine some pre-2000s novels that did the unthinkable.
Jennifer Wilde’s Marietta Danvers Trilogy
Jennifer Wilde broke the romance rules all the time, never quite letting the reader know who the book’s hero was until almost the end. Her first book, Love’s Tender Fury, definitively had Marietta Danvers ending up with Derek. But in the second book, she spends a lot of time with a new man, Jeremy Bond. By the denouement, it’s revealed that Derek is a no-good-nick, already married to a pregnant wife! He still wants Marietta as his sidepiece, though. Love Me, Marietta has a cliffhanger ending as she rides in a carriage, racing to reunite with Jeremy.
When Love Commands will have Marietta engage with other sexual partners. In the end, she does settle down with one man. There s a HEA in this romance series, just not with the man you expect.
Roberta Gellis: The Roselynde Chronicles
Roberta Gellis was a stickler for being historically accurate. The young heroine, Alinor, of her novel Roselynde is married to Ian, a man 30 years her senior, which isn’t unusual for a medieval setting. In romance novels, sometimes we overlook issues caused by age differences, like the much older partner leaving his partner widowed while she’s still young. That’s what happens in the second book of the series, Alinor.
Playboy Press had initially pitched the Roselynde series as an “Angelique” type series set in the middle ages. The heroine would find romance with a new man in each book. Fortunately, the publishers limited the idea to only two novels. The rest of the books in the series deal with Alinor’s many children finding love.
Elaine Barbieri’s Amber Series
In Elaine Barbieri’s Amber trilogy, the first book, Amber Fire, seems like a typical bodice ripper. Melanie has various men in her life as lovers and husbands. The first book culminates with Melanie finding happiness with Simon. However, Simon passes away in book two. Then Amber finds consolation with his best friend, Worth. Their love story is told in Amber Treasure and concludes in the final installment, Amber Passion.
Aleen Malcolm’s Cameron Trilogy
Aleen’s Malcolm wrote a fierce yet tender bodice ripper romance with her first outing, The Taming. Free-spirited, 15-year-old Cameron became the handfasted bride of the older Alexander Sinclair. Ride Out the Storm, its follow-up, needlessly separated the young heroine from her stubborn husband for years.
What occurred in the third book, Daughters of Cameron, floored me. Far from having had many years of happy marriage together, Alex and Cameron are separated by war as Alex fights in the American Revolution. When he returns home, he finds his wife is bone-thin and suffering from consumption. Cameron dies early on in the book, before the age of 40. The rest of the novel is about her two daughters, Kestrel and Rue, finding love. Alex remains a widower, remembering his short time with Cameron fondly. THE HEA in this romance is for her children, but not for Cameron.
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For the most part breaking the HEA rule is an absolute no for me. For instance I read ALINOR before I read ROSELYNDE and because
I know how it ends, I probably won’t read the first book in the series . However, I think it can work if the book leans more historical fiction or if the hero is so awful that a better hero would be a win for the heroine . For instance, I’ve read Sunset Embrace and I hated Ross so much that I dropped the book at about 80% done, I don’t think I’d be too sad if I read the sequel and he dies. Also apologies for dividing this comment into two posts; I accidentally hit post before I finished the initial comment and there is no edit button for the comments.
No, worries!
I absolutely agree that if a better hero works, and you have to get rid of the first, do it.
I forgot to include Skye O’Malley & its sequel All the Sweet Tomorrows on this list. In the 1st book, Skye gets w/ Niall, but had a short affair w/ Adam whom I preferred.
In book #2 Niall dies and Skye ends up w. Adam. Was so happy.
It’s hypocrital on my part, but I can’t say I’d be ok if the hero got another love in a new book.
Ross was indeed a hard man to tolerate, so I don’t blame you on tapping out for that book. The hero of Another Dawn lusting after the mom, and then marrying the daughter squicked me out, too.
Hi, Jacqueline. Another great post.
Of the books you write about here, I’m only familiar with two, Elaine Barbieri’s “Amber” trilogy (i’ve read all the books) and Mary Gilgannon’s “Dragon Duo” (I have both books, but have not read them yet). I had mixed feelings for the “Amber” series, due in large part to the age gaps in the books (in the first book “Amber Fire”, the heroine, Melanie Morganfield, is 13, and Asa Parker, who was a friend of Melanie’s father and is lusting after her, is 42! when the book begins). That’s a 29 year age difference, and, as we’ve discussed in another post, that is simply too much of a gap for me. Every male-I can’t call them men-who falls in love with her is significantly older than Melanie, which I find both creepy and sleazy. Melanie spent the entire series looking for a father figure, literally. Rant over.
Now, to answer your two questions. Why do I believe the author didn’t have a HEA? Purely speculation, but maybe they wanted to write a more realistic story, as we all know that there are few, if any, Happily Ever Afters in real life. To answer the second question, does it ruin my experience as a reader? Not necessarily. As long as the hero or heroine finds love, that is what matters to me. Whether that’s with one person or many doesn’t change that equation for me.
Thank you Blue Falcon!
With the Amber books since I consider them bodice rippers they operate under different guidelines than ordinary romances. Anything goes with them, age gaps, multiple partners, new heroes, etc. The huge age gap w/ Asa was uncomfortable, so he was not hero material. 30 years is too much, and making the heroine so young makes it gross.
I forget the other man who was obsessed with Melanie all through the series, but even though he was awful, he was more exciting than her first husband. I never read book three, but skimmed to know she and Worth have a HEA. I was fine with that.
When it’s a certain kind of book, I can accept multiple loves and unconventional endings.
But…when a book is a straightforward romance, and a main character is killed off young, or the hero/heroine finds happiness with someone else, it’s like a betrayal. Romances need to have a HEA forever for me. These book are like faiy tales for grownups. Total fantasy. I appreciate realism, in other genres though.
Thanks for the perspectives!
Hi, Jacqueline.
At first, I didn’t consider the “Amber” series to be a bodice-ripper series, but now that you mention it, it is. All of the traditional bodice ripper elements are there (Melanie faces emotional, mental, physical and sexual degredation at various points in the series. Much of that comes from the “man” who was obsessed with her, Stephen Hull, who was a true piece of work). Side note, in “Amber Passion”, Melanie and Worth are separated and he is pursued by a Chinese female pirate. And yes, I agree with you about straightforward romances when a hero/heroine finds love with someone other than the person they’re supposed to, it does feel like a betrayal of the romance novel code.
I also have to correct something from my earlier post. I also have the two Dana Ransom books, but I haven’t read them yet.
Thanks, Jacqueline. I think I understand why this used to happen.
A romance novel revolves around the greatest, sometimes only, love of the two focal characters. It ends happily ever after. Or so it seems.
But say the book is commercially successful and calls for a sequel. How can the author continue the story without it coming off as an anticlimax?
There used to be only one way. Kill off one of the protags. Then have the surviving protag find love with someone else.
Note I said “used to happen” and “used to be”. I doubt any author carries out this practice nowadays. Romance fiction is more series-oriented than ever. But each volume in a series is about a different couple.
The protags of previous books often turn up as characters. But just secondary ones.
Personally I don’t mind if a romance doesn’t end happily ever after. Or happily at all. Tragedy has its place in the human condition.
But I’m probably the only reader who thinks this way!
I thought most of the traditional publishers wouldn’t accept a romance that broke the HEA rule. This is really good to know! Thank you, Jacqueline!
Warmly,
Shira