I'm confused. Confused by publisher labels on romance. And I'm wondering if the word "paranormal" is now being used for any romance that isn't a historical or a contemporary, including those romances that involve societies from places other than Earth. My guess here is that publishers think the term "science fiction" will scare away romance readers. I can't speak for anyone but myself, but I could really use some help sorting out SF romance from everything else in the romance aisle.
I'm not a big fan of all the vampire, werewolf, were-jaguar, were-whatever books that have taken over publishing lately, but I certainly would agree that they're "paranormal." I'm afraid that some books that I
would like, however, are hiding under the paranormal label. For example, I recently read
Jane's Warlord, by Angela Knight, which I adored. It's described as a "sexy paranormal debut" by the publisher. But the hero is a soldier from the 24th century who time travels.
Sorry, but to me, that's
science fiction. I'm pretty sure that I missed out on this book when it was first released (in 2004) because it wasn't marketed as SFR.
To me, science fiction involves at least two of the following: 1) the future (including the near future); 2) use of technology; 3) non-Earth peoples, societies or planets.
Check out a great interview with Heather Massey (of
The Galaxy Express)
here, where she defines SFR and talks about its recent publishing history. To Heather, SFR involves romance set in "technology driven settings." She includes steampunk in that category and since I know next to nothing about steampunk, I can't comment. But I totally agree that SFR must have some element of technological innovation that is not currently available in the early 21st century. But technology doesn't have to be the center of the story.
Jane's Warlord, for example, involves time travel, but the science behind it isn't directly relevant to the plot. After providing some basic principles of operation, Knight has convinced her reader that time travel is a reasonable technological development and structures her story around the resulting conflict.
My own erotic SFR requires space travel. It's a way for my hero, who is from a society descended from an Earth-based culture, to meet a humanoid woman from another planet. Most of the technological advances are implied; i.e., I don't get into the physics of space travel or explain how communications from the planet surface to the orbiting spacecraft function. My interest in writing SFR is in exploring social and interspecies differences, not in technology per se. But without the technology, there's a lot less to explore.