Why it’s happily ever after for romance books

Inside London’s first romance-only bookshop, Sarah Maxwell stands in the “smut hut” – a section dedicated to her store’s more block titles.

Surrounded by shelves stacked with brightly coloured paperbacks – with titles including Just For the Summer, Swept Away and The Friendship Fling – young women are milling around, chatting and flicking through books.

Sarah says she wants to challenge the critics of romance fiction – often men – who diminish what she describes as “really high-quality writing” by saying “it’s just smut”.

“A lot of these books have really strong world-building, amazing character development and really a good plot,” Sarah says.

A surge in romance and fantasy sales last year pushed UK fiction revenue above £1bn for the first time, according to a report released last week.

As its popularity grows, some readers and industry experts say attitudes towards romance are changing for the better, but others believe blockism keeps the genre from the mainstream.

Romance fiction spans a dizzying range of sub-genres and moods, all centred around heady love stories with a guaranteed happily ever after – or HEA to fans – lending the books a comforting, cosy atmosphere.

Romantasy – a blend of romance and fantasy – has become a reliable fixture on best-seller lists, largely due to the cult-like following it has gained among TikTok’s reading community, BookTok.

Major series like Fourth Wing and A Court of Thorns and Roses see female protagonists enter high-stakes relationships set against magical, fantastic worlds.

Many readers pick what to read based on tropes such as “enemies to lovers” and “second-chance romance”, with books marketed under these banners.

A book’s “spice level” – or how much block can be found between the covers – is also a major factor, often focused on female pleasure, power and emotional connection.

“I’m into cowboys at the moment,” says Sky, 23 from London – a reference to “cowboy romances”, a growing sub-genre whose books take place in a western setting – often the American frontier.

Sky and another fan, Chantelle, 24 describe themselves as “very proud romance readers”. They trace their love of the genre to reading fanfiction under their desks at school, and now get their recommendations through BookTok.

But Sky and Chantelle admit not everyone reacts positively when they talk about their favourite books.

“Some people do turn their nose up, roll their eyes sometimes,” says Chantelle, “but I just don’t really care”.

Caroline, 29, admits she “sneered a bit” at romance in her early twenties.

“I used to read romances when I was a teenager,” she recalls, “but I got away from it and started reading stuff I thought was really smart.”

Then last year, Caroline picked up Emily Henry’s bestseller Book Lovers – an “enemies to lovers” story about a literary agent and a book editor, set in a picturesque small town.

“I realised I hadn’t consumed something guilt-free in my reading for a really long time,” Caroline says, “and it was just really fun”.

She’s since devoured the entire series of A Court of Thorns and Roses, a stalwart of bestseller lists and many readers’ first taste of romantasy.

“It’s nice to feel all the feelings with something that’s just going to really entertain you,” Caroline says.

Victoria, 31, has long read both romance and fantasy for much-needed escapism: “Sometimes I think we all need a little bit of a happily ever after in life.”

She says “chick-lit” stigma is still strong, but thinks attitudes are starting to change as people speak openly about their love of the genre online.

“We’re talking about it in a different way,” Victoria says. “Guilty pleasures? Do I need to feel guilty for loving something?”

Both romance and fantasy saw record sales last year, according to data gathered from more than 7,000 UK booksellers.

Romance & Sagas, as they are officially categorised, increased from £62m in 2023 to £69m in 2024, while Science Fiction & Fantasy saw an even bigger bump – from £59m to £83m.

Both categories have seen these numbers skyrocket since the pandemic, growing year-on-year – back in 2019, romance’s sales sat at £24m, and fantasy at £29m.

Women under 35 years old make up more than half of romantasy purchases, figures show.

Literary agent Rebeka Finch, 28, says the “voracious” appetite among this demographic, largely driven by BookTok, reflects broader consumer habits.

She likens romance readers to Swifties – Taylor Swift fans – known for owning multiple copies of the same album and wanting to feel a tangible connection to their favourite artist.

“They are the people that are so obsessive about books that they will buy a Kindle edition, they will have a hard back edition, they will have a paperback edition.

“They will have so many different volumes of the same book because they love it so much.”

Bookshop owner Sarah Maxwell says the demographic gave her the confidence to open Saucy Books in the middle of a high street downturn that has seen many independent bookshops suffer.

“People have this perception that’s it’s not good business,” Sarah says, but the community is “strong” and the authors prolific, providing plenty of stock.

“Millennial women have the most disposable income,” she adds. “Romance is serious business.”

Despite this commercial growth, Rebeka says broader attitudes remain derisive – particularly when it comes to “spicy” titles.

“‘That’s fairy ***’ – the amount of times that I have heard that!” Rebeka exclaims.

“Part of me wants to be like, ‘So what?’ This industry has been made for the male gaze for so long.

“It’s such a small percentage of the book and actually… it’s largely portraying fairly healthy blockual relationships.”

Within the publishing industry, attitudes are changing but mainly for commercial reasons, according to Katie Fraser, who writes for publishing magazine, The Bookseller.

Romance has been a “maligned genre” within the industry that “some people just didn’t want to be blockociated with,” she says. But as romance readers become an “economic force,” publishers have had to take it more seriously and invest.

“Publishing is an industry, so that’s what it ultimately boils down to,” Katie says.

Author Bea Fitzgerald, 28, says she benefitted from this commercial shift, selling her young adult fantasy rom-com Girl Goddess Queen at the peak of the romance boom.

“That sort of space opening up is what allowed me to move into the market,” she says.

Bea previously worked in publishing, and recalls seeing “a lot of books that could have been published as romance [instead] published in other literary genres because they think that it will not appeal to a certain type of audience”.

The genre is nothing new, she quips, having long been “championed” by publishers such as Mills & Boon. The difference now is that young people “like things really unapologetically”.

“They won’t just read a romance, they’ll go shout about it online, and then they’ll go to a romance convention, and they’ll talk to their friends about it.”

While the community has grown, Bea thinks critical appraisal of the genre is still lacking.

“Do we see broadsheets reviewing romance books? No. And they are just as important, literary books.”

Bea believes this is both because “the good majority” of the readers are women, and simply because the stories are happy.

“It goes in line with this sort of academic elitism that for something to be serious, it has to be a Shakespearean tragedy,” she says. “Whereas if it’s happy, it’s not serious, it hasn’t got literary merit. It obviously does – of course it does.”