Hear Us Out… is a podcast series where Katrina Jackson and I bring our offline romance conversations into the public space. As longtime readers of the genre, we talk through what romance is doing, how it works, and why it matters. Each episode is an invitation to continue the conversation well after the mic is off.
In this episode, we’re talking about an important part of romance publishing: the importance of categorizing romance novels. Spoiler: it’s a pet peeve of mine when it’s not done correctly.
Romance categories aren’t just labels; it is information about the book. The category tells the reader what kind of emotional experience they might be signing up for. Romance as a genre already comes with baseline expectations: a central love story and a satisfying ending. But categories narrow that promise by adding expected conventions, tropes, and structure or beats.
For instance, I just wrapped up Mafia Romance May, which falls under romantic suspense. As a category, romantic suspense blends a central romance with a high-stakes, tension-driven plot think danger, secrets, and a constant sense that something could go wrong. That category alone tells the reader that this isn’t just about falling in love; there will be shenanigans for the love interests to survive/overcome in order for the relationship to make it.
Romantic suspense can vary widely depending on the subcategory and tropes used:
Mob boss/socialite
Bodyguard/protector dynamics
Enemies-to-lovers
Small-town mystery with buried secrets (secret baby)
Hidden identity or witness protection setups
So the signal is that the stakes are high; the tone can be a little darker than a contemporary romance. Readers make decisions based on the expectation. Tropes and categories help readers find the emotional experience we’re craving, whether that’s adrenaline-fueled danger or the intimacy of surviving something together.
In short, when categories are used correctly, they can serve as a compass.
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