The theme of the man who is "saved by the love of a good woman" is common in both life and romance. In reality, savior complexes are dangerous because they encourage women to stay with abusive mates, but that is another story, one that belongs in "women's fiction" rather than "romance." What matters in a romance context is that healing the wounded hero is a fantasy of incredible potency.
Mary Jo Putney, romance novelist
Traditionally, the [romance novel] hero is the Byronic type--dark and brooding, writhing inside with all the residual anguish of his shadowed past, world-weary and cynical, quick-tempered and prone to fits of guilt and depression. He is strong, virile, powerful, and lost. Adept at many things that carry with them the respect and admiration of the world (particularly the world of other males), he is not fully competent in the arena where women excel--the arena of his emotions, which are violently out of control.
Linda Barlow, romance novelist
There is a place in romance, in my own fantasies, for the laconic cowboy, for the over-civilized power broker, for the gentle prince and the burned-out spy. They all have their appeal, their merits, their stories to tell. But the vampire myth strikes deep in my soul. Deep in my heart I want more than just a man. I want a fallen angel, someone who would rather reign in hell that serve in heaven, a creature of light and darkness, good and evil, love and hate. A creature of life and death. The threat that kind of hero offers is essential to his appeal.
Anne Stuart Krentz, romance novelist
In the romance novel the domineering male becomes the catalyst that makes the empowerment fantasy work. The heroine isn't as big as he is; she isn't as strong, as old, as worldly; many times she isn't as well educated. Yet despite all these limitations she confronts him--not with physical strength but with intelligence and courage. And what happens? She always wins! Guts and brains every time. What a comforting fantasy this is for a frazzled, overburdened, anxiety-ridden reader.
Susan Elizabeth Phillips, romance novelist
Mary Jo Putney, romance novelist
Traditionally, the [romance novel] hero is the Byronic type--dark and brooding, writhing inside with all the residual anguish of his shadowed past, world-weary and cynical, quick-tempered and prone to fits of guilt and depression. He is strong, virile, powerful, and lost. Adept at many things that carry with them the respect and admiration of the world (particularly the world of other males), he is not fully competent in the arena where women excel--the arena of his emotions, which are violently out of control.
Linda Barlow, romance novelist
There is a place in romance, in my own fantasies, for the laconic cowboy, for the over-civilized power broker, for the gentle prince and the burned-out spy. They all have their appeal, their merits, their stories to tell. But the vampire myth strikes deep in my soul. Deep in my heart I want more than just a man. I want a fallen angel, someone who would rather reign in hell that serve in heaven, a creature of light and darkness, good and evil, love and hate. A creature of life and death. The threat that kind of hero offers is essential to his appeal.
Anne Stuart Krentz, romance novelist
In the romance novel the domineering male becomes the catalyst that makes the empowerment fantasy work. The heroine isn't as big as he is; she isn't as strong, as old, as worldly; many times she isn't as well educated. Yet despite all these limitations she confronts him--not with physical strength but with intelligence and courage. And what happens? She always wins! Guts and brains every time. What a comforting fantasy this is for a frazzled, overburdened, anxiety-ridden reader.
Susan Elizabeth Phillips, romance novelist
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