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150:, the couple's transformation from adversaries to a loving married couple is one of many formulaic elements in the book. Although the protagonists adhered to many stereotypes common to romance novels of the 1980s, Roberts's heroine is more independent and feisty than most heroines of the time. This book's popularity helped pave the way for other romance authors to experiment with heroes and heroines who had greater economic and emotional parity.
290:
234:. Books in this genre are short – usually between 175 and 200 pages, or about 55,000 words – and are published in clearly delineated lines, or categories. Although each category romance novel is unique, it is required to conform to the general parameters that define its line. The small number of books published in each line every month are numbered sequentially within the line.
318:
romance novels at that time. Dee's reactions, however, veered from the formulaic. Her retorts brought to mind the "quippy one-upmanship of feminist literature". When a man attempts to rape her, Dee responds with a series of sharp comments, calling him, among other things, "a filthy pig of a man", before succumbing to the traditional feminine response of fainting in horror.
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heroine may have problems, she may be vulnerable, but she has to be strong, she has to be intelligent. She has to be independent and so does he, or I'm not interested in telling their stories." The popularity of this book and
Roberts's subsequent novels helped transform the genre, making authors more willing to give heroes and heroines economic and emotional parity.
179:. Unconvinced that the market would appreciate novels such as Dailey's – all featuring American protagonists and set in the United States – Harlequin was unwilling to further expose itself to risk. As a result, the company quickly rejected Roberts's work; one editor explained that "they already had their American writer."
202:
The novel follows the relationship between
Irishwoman Adelia "Dee" Cunnane and American Travis Grant. As the story begins, the young and penniless Dee emigrates to the United States to live with her uncle, Paddy, who works on a large horse farm. Dee's love for animals is evident, and she is given a
317:
Despite the greater independence that
Roberts allotted her heroine, Dee is trapped within a patriarchal culture in which her uncle and prospective husband arrange her future. The arranged marriage and ensuing events, including the misunderstanding and her running away, were common plot elements for
308:
is not as polished as later
Roberts works. Snodgrass cites many predictable elements, including the core "confrontation between an overconfident male and an assertive girl-woman". Throughout the 1970s and early 1980s, romance novel heroines were generally "trembling virgins", of an inferior class
238:
was number 81 in the
Silhouette Romance line. Novels in this line espouse more traditional family values and place greater emphasis on the characters' emotions rather than their physical needs. Although these novels often describe sexual tension between the main characters, sexual intercourse is
145:
Roberts drew on her Irish heritage to create an Irish heroine, Adelia "Dee" Cunnane. In the novel, Dee moves to the United States, where her sick uncle arranges for her to marry his employer, wealthy
American horsebreeder Travis Grant. Although the early part of their relationship is marked by
313:
conformed to this pattern in part, by being sexually inexperienced, immature, and poor, but
Roberts deliberately deviated from the rest of the stereotype by providing her with a hot-tempered and independent personality. Her later books have continued in the same vein. As Roberts explains, "My
218:
their marriage. Soon, however, Dee's insecurities are exploited by Travis's sophisticated former girlfriend, Margot, who has returned to the area to win him back. Dee runs away. Travis follows, and the two confess their love and resolve to make their marriage work.
271:
Silhouette editors were originally concerned that the novel was too ethnic. Like many of her early novels, Roberts's debut featured characters who shared the Irish culture in which
Roberts had been raised. The opening pages, alluding to the introductory scene of
134:. Like other category romances, the novel was less than 200 pages and was intended to be on sale for only one month. It proved so popular that it was repackaged as a stand-alone romance and reprinted multiple times. Roberts wrote two sequels,
242:
Category romances are generally only available for a limited time, remaining on a bookseller's shelves until they are sold out or until the next month's titles are released. Popular category romances can be repacked as stand-alone romance novels;
162:
was a stay-at-home mother with two small children. Stranded during a blizzard with nothing to read, Roberts amused herself by writing down one of the stories in her head. After developing her idea into a novel-length contemporary
321:
Roberts also includes the motif of jealousy. Dee is given a rival for Travis's affections – an over-sophisticated woman who is essentially Dee's antithesis. Roberts reused this plot point in other novels, including
203:
job working alongside her uncle. Dee has a fiery temper and often argues with Travis, the wealthy farm owner; many of their arguments lead to passionate embraces. Travis later rescues Dee from an attempted rape.
206:
When Paddy suffers a heart attack, he becomes very concerned about his mortality and Dee's future. He becomes overwrought and insists that Travis take care of Dee. After privately agreeing to a temporary
309:
and power level than the hero. The hero often was very rich and powerful, while the heroine worked in traditional, subordinate, female roles, such as governess or secretary. The heroine of
282:, detailed the heroine's awed reaction to the extravagance of an American estate. This plotline of an impoverished Irishwoman's surprise at the wealth of America essentially reframed the
211:, Travis and Dee exchange vows in Paddy's hospital room. As the story progresses, the protagonists become increasingly unhappy, with neither willing to admit their love for the other.
171:, a Canadian company considered the foremost publisher of romance novels in North America. Harlequin typically published works by British authors set in the
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Although still unwilling to vocalize their feelings, Dee and Travis appear more confident in their relationship after they finally
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created a new imprint, Silhouette Books, to serve as a counterpart to
Harlequin. Roberts sent her seventh manuscript,
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190:, unsolicited to the new company. Nancy Jackson, the acquiring editor at Silhouette, pulled the manuscript from the
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frequent arguments and misunderstanding, by the end of the story Travis and Dee reconcile. According to critic
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167:, she continued writing and soon finished six more manuscripts. Roberts submitted her work to
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and was impressed. She offered
Roberts a contract, leaving the writer "awestruck".
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In an effort to take advantage of the untapped talent of American writers, in 1980
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received five printings by 1984. In 2000, the book was paired with its sequel,
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of one million copies. This coincided with the release of a second sequel,
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The Romance Readers' Advisory: The Librarian's Guide to Love in the Stacks
768:
289:
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130:, originally published by Silhouette in January 1981 as a
690:, Philadelphia, PA: University of Pennsylvania Press,
600:"A Romance Novelist's Heroines Prefer Love Over Money"
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539:"Romance writers stress more than just passion"
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263:, which focused on Travis and Dee's daughter.
239:only described within the bounds of marriage.
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433:"Romance novel queen says writing comes easy"
8:
664:Little, Denise; Hayden, Laura, eds. (2003),
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380:"Nora Roberts: A Celebration of Emotions"
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711:, Santa Barbara, CA: Greenwood Press,
688:A Natural History of the Romance Novel
230:was initially published as a category
31:Front cover by Silhouette Romance, #81
598:Bellafante, Ginia (August 23, 2006),
403:Regis (2003), pp. 155–156, 159.
342:Kellner, Thomas (November 15, 2004),
284:Irish emigration to the United States
7:
668:The Official Nora Roberts Companion
467:Bouricius (2000), pp. 12–13.
14:
485:Little and Hayden (2003), p. 147.
378:Quinn, Judy (February 23, 1998),
650:, American Library Association,
563:Maryles, Daisy (June 19, 2000),
545:, Associated Press, July 1, 1984
431:Crockett, Sandra (May 7, 1998),
412:Regis (2003), pp. 158, 183, 184.
1:
300:According to literary critic
1442:Contemporary romance novels
421:Regis (2003), pp. 156, 159.
386:, vol. 244, no. 8
1468:
24:
633:Snodgrass (2010), p. 21.
565:"Behind the Bestsellers"
494:Bouricius (2000), p. 14.
476:Bouricius (2000), p. 12.
458:Snodgrass (2010), p. 11.
1437:English-language novels
1427:American romance novels
646:Bouricius, Ann (2000),
209:marriage of convenience
686:Regis, Pamela (2003),
437:Lawrence Journal-World
297:
286:of the 19th century.
1432:Works by Nora Roberts
705:Snodgrass, Mary Ellen
510:"Romancing the Store"
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251:, and republished as
169:Harlequin Enterprises
90:Mass Market Paperback
16:Novel by Nora Roberts
1447:1981 American novels
1244:Bride Quartet novels
1225:Desperation in Death
1169:Connections in Death
1121:Brotherhood in Death
709:Reading Nora Roberts
302:Mary Ellen Snodgrass
184:Simon & Schuster
173:British Commonwealth
148:Mary Ellen Snodgrass
1129:Apprentice in Death
1073:Calculated In Death
1033:Indulgence in Death
841:Conspiracy in Death
344:"Who Needs a Muse?"
122:is American author
21:
20:Irish Thoroughbred
1295:Irish Thoroughbred
1217:Abandoned in Death
1209:Forgotten in Death
1201:Faithless in Death
1105:Obsession in Death
1089:Concealed in Death
1081:Thankless in Death
1057:Celebrity In Death
1049:New York to Dallas
1041:Treachery in Death
1001:Salvation in Death
993:Strangers in Death
913:Imitation in Death
881:Seduction in Death
825:Vengeance in Death
520:on August 11, 2007
311:Irish Thoroughbred
306:Irish Thoroughbred
298:
255:, with an initial
245:Irish Thoroughbred
236:Irish Thoroughbred
228:Irish Thoroughbred
188:Irish Thoroughbred
119:Irish Thoroughbred
1452:1981 debut novels
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1411:
1177:Vendetta in Death
1161:Leverage in Death
1065:Delusion in Death
1009:Promises in Death
985:Creation in Death
977:Innocent in Death
945:Survivor in Death
905:Portrait in Death
873:Betrayal in Death
857:Judgment in Death
817:Ceremony in Death
801:Immortal in Death
718:978-0-313-36293-4
679:978-0-425-18344-1
569:Publishers Weekly
514:Publishers Weekly
508:(July 31, 2006),
504:Eykelhof, Paula;
384:Publishers Weekly
274:Daphne du Maurier
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79:Publication place
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1322:Film adaptations
1276:Happy Ever After
1268:Savor the Moment
1193:Shadows in Death
1145:Secrets in Death
1113:Devoted in Death
1097:Festive in Death
1025:Fantasy in Death
1017:Kindred in Death
937:Visions in Death
929:Divided in Death
889:Reunion in Death
865:Witness in Death
849:Loyalty in Death
833:Holiday in Death
809:Rapture in Death
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575:on July 24, 2008
571:, archived from
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506:Macomber, Debbie
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132:category romance
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72:Silhouette Books
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756:Nora Roberts
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607:, retrieved
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573:the original
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198:Plot summary
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177:Janet Dailey
160:Nora Roberts
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124:Nora Roberts
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116:
106:
41:Nora Roberts
1346:Montana Sky
1338:Angels Fall
672:, Berkley,
579:January 18,
261:Irish Rebel
154:Publication
136:Irish Rebel
128:debut novel
1421:Categories
1354:Blue Smoke
775:characters
609:January 6,
549:January 6,
442:January 6,
390:January 6,
353:January 6,
330:References
249:Irish Rose
216:consummate
192:slush pile
140:Irish Rose
1386:High Noon
1330:Sanctuary
1303:Sea Swept
543:Star-News
524:April 16,
257:print run
158:In 1979,
67:Published
769:In Death
707:(2010),
47:Language
1394:Tribute
640:Sources
293:Author
279:Rebecca
165:romance
51:English
1405:(2022)
1402:Brazen
1397:(2009)
1389:(2009)
1381:(2009)
1373:(2009)
1365:(2007)
1357:(2007)
1349:(2007)
1341:(2007)
1333:(2001)
1314:(2000)
1306:(1998)
1298:(1981)
1279:(2010)
1271:(2010)
1263:(2009)
1255:(2009)
1236:(2023)
1228:(2022)
1220:(2022)
1212:(2021)
1204:(2021)
1196:(2020)
1188:(2020)
1180:(2019)
1172:(2019)
1164:(2018)
1156:(2018)
1148:(2017)
1140:(2017)
1132:(2016)
1124:(2016)
1116:(2015)
1108:(2015)
1100:(2014)
1092:(2014)
1084:(2013)
1076:(2013)
1068:(2012)
1060:(2012)
1052:(2011)
1044:(2011)
1036:(2010)
1028:(2010)
1020:(2009)
1012:(2009)
1004:(2008)
996:(2008)
988:(2007)
980:(2006)
972:(2006)
964:(2006)
956:(2005)
948:(2005)
940:(2004)
932:(2004)
924:(2003)
916:(2003)
908:(2003)
900:(2002)
892:(2002)
884:(2001)
876:(2001)
868:(2000)
860:(2000)
852:(1999)
844:(1999)
836:(1998)
828:(1997)
820:(1997)
812:(1996)
804:(1996)
796:(1995)
788:(1995)
771:novels
715:
694:
676:
654:
267:Themes
110:
37:Author
223:Genre
95:Pages
57:Genre
713:ISBN
692:ISBN
674:ISBN
652:ISBN
611:2010
581:2010
551:2010
526:2007
444:2010
392:2010
355:2010
138:and
276:'s
126:'s
98:189
1423::
618:^
602:,
588:^
567:,
541:,
512:,
451:^
435:,
382:,
362:^
346:,
326:.
304:,
142:.
777:)
773:(
762:)
758:(
748:e
741:t
734:v
74:)
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