However, in contemporary, Christian romance, the heroesвЂ™ вЂњmorals and religious strengthвЂќ (Clawson, 13) and ability to lead a family are his most important attributes, where worldly measures do not define them nearly as much as their secular counterparts. Secular romance novels put more importance on worldly success, so for example, in contemporary secular romance, heroes are more likely to work in вЂњmanagerial or entrepreneurial professionsвЂќ (Clawson, 7), вЂњhave their profession mentioned on the bookвЂ™s exterior, be identified as a parent in the title, pay for a first date, and give giftsвЂќ (Clawson, 9). Though there have been some changes in the genre since the 90вЂ™s, heroes in secular romance are often вЂњdepicted as overwhelmingly strong, economically and physically, but that strength is frequently overcome by the emotional strength of the heroine, who tames themвЂќ (Krentz), while Christian heroes are вЂњless overpowering figures at the beginning of the texts but are more dominant within the relationship, subject instead to the will of GodвЂќ (Clawson, 1). This trend is especially seen in the differences between the genresвЂ™ heroes.

The Christian romance genre also frames gender, masculinity, and femininity differently than secular romance genres. However, within the subgenres, there are differences in the progression of the sexual conversion experiences, where Christian characters often experience sexual encounters together for the first time, while secular heroes are more likely to be more experienced than their secular heroines, and thus take on a teaching role, as they help guide the heroine through her first sexual encounter (Clawson). Furthermore, characters in Christian and secular romances have and participate in conversion experiences on similar time tables (Neal, 14), with conversion experiences referring to sexual, emotional, or religious changes. Some similarities Christian romance shares with secular romance is that вЂњat the center of the romance plot is the love story between that must involve strong sexual tension, however euphemistically it is described (Toscano, 1).вЂќ Both genres also share moral values, such as вЂњfidelity, monogamy, mutuality, consent, and marriageвЂќ (Toscano, 1), and have a variety of plots and plot settings.

Other distinguishing characteristics of Christian romance are a вЂњlack of explicit sexuality and a focus on God as a third party in the romanceвЂќ (Toscano, 1). Therefore, there may be a kind of distance put between Christianity and the characterвЂ™s experience, so it is easier to market and sell as inspirational romance. Even though вЂњreligious or spiritual beliefs are an inherent part of the love story, character growth and relationship development and could not be removed without damaging the storyline ( myRWAвЂЇ: The Romance GenreвЂЇ: Romance Subgenres),вЂќ it seems that by not taking the next step and referencing Jesus, Christianity is not fullyВ integrated into the novel. I believe this may be why they are often referred to as inspirational romance novels, rather than Christian, and marketed and sold that way as well. In 1998, Harlequin Christian romance novels had вЂњconstant references to вЂGod and вЂGodвЂ™s plan,вЂ™ but references to вЂJesus ChristвЂ™ rare or non-existentвЂќ (Woodard, 2), and this trend has remained pretty consistent since. Though Christian romance novels have distinguishing characteristics that set them apart from secular romance novels, the two genres have more in common than differences. This form of the romance novel allowed Christian authors to tell love stories while conveying lessons about family, relationships, and faith to both Christian and non-Christian readers. The Christian romance novel, which shares some similarities with secular romance but has many distinguishing features, rose to prominence in the later twentieth century to eventually claim a significant percentage of the romance fiction market.

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