UNSUITABLE is an events series that engages students and members of the Durham community in a discussion of women’s interests and popular fiction. It is run in conjunction with "Publishing & Marketing Popular Fiction: A Case Study of the Romance Novel" course at Duke University.
All events are free and open to the public. Seating is limited.
Visit the UNSUITABLE website
Spring 2018 Events
UNSUITABLE #18 - Caroline Perny
"The Big Business of Selling Romance"
NOON, JAN 26, 011 OLD CHEM
Romance novels account for 34% of all fiction sold annually and have spawned some of the largest blockbuster franchises of our time. But what’s the real reason readers gobble them up? Strong heroines? Sex-on-the-page? The Happily Ever After? Muscly guys on the covers? Romance is both a niche market and a multi-billion dollar industry. How does a publishing company garner publicity, spur sales, and ultimately get respect for a genre that inspires both derision and adoration?
UNSUITABLE #19 - Damon Suede
"Queer Romance Goes Mainstream"
NOON, MARCH 23, 011 OLD CHEM
At its origins in the 1970’s, mainstream genre romance emphasized the love stories of heterosexual, cisgendered couples. LGBTQ romance was often categorized as “erotic” romance, even when the level of sensuality was similar to mainstream non-erotic romance. But recently, authors of genre romance featuring gay, lesbian, transgender, and bisexual protagonists have risen to the top of mainstream romance lists in contemporary, historical, paranormal and other categories. What part did authors, readers and publishing houses play in bringing this about?
UNSUITABLE #20 - Piper Huguley
"Religion, Race, and Readers: Writing African-American Inspirational Historical Romance"
NOON, APRIL 6, 225 FRIEDL
For decades, genre romance novels featuring heroes and heroines of color were considered niche market fiction, and likewise for “inspirational” romance featuring characters facing spiritual challenges. Now Christian fiction accounts for a massive proportion of the US fiction market, while authors of African-American romance are still fighting for equal recognition in a largely white industry. What role are both readers and publishers playing in increasing diversity in romance fiction, and how does an author of Christian African-American romance fight that battle as both writer and scholar?
UNSUITABLE #21 - Barbara Claypole White
"When Romance Isn't 'Trashy': Fiction and Perception"
NOON, APRI 11, 011 OLD CHEM
“Women’s Fiction” is a broad category including contemporary blockbusters like Elizabeth Gilbert’s Eat, Pray, Love and Nicholas Sparks’s The Notebook, as well as light popular comedy like Helen Fielding’s Bridget Jones’ Diary and rich historical narratives like Kristin Hannah’s The Nightingale. If all of these novels include central love stories, why aren’t they considered part of the huge romance genre? What determines how a novel will be packaged and sold: quality of writing, author platform, the seriousness of issues in the story, cover images, publicity and marketing departments, booksellers, or reader expectations? One author shares her experiences writing and publishing women’s fiction in the new millennium.
Co-sponsors include Duke’s Forum for Scholars and Publics, African & African American Studies, History Department, Gender, Sexuality & Feminist Studies, Religious Studies, Kenan Institute for Ethics, Innovation & Entrepreneurship, Trinity College of Arts & Sciences, #Artstigators, and the John Hope Franklin Humanities Institute.
Spring 2018 Speakers