Creator / Danielle Steel

"Suddenly, Stephanie spotted Lance on the beach..."
— the Danielle Steel card in Apples to Apples

Danielle Steel is an American author. Steel's novels have been on the New York Times bestseller list for over 390 consecutive weeks and 22 have been adapted for television. She has written at least one book almost every year since 1973. Many of her works are self-referential: for example she marries and divorces a heroin addict, and then her next novel is about — quelle surprise! — a woman who marries and divorces a heroin addict.

For a full bibliography, click here.

Almost all of her books are Romance Novels.

This author provides examples of:

  • Airport Novel
  • The Beautiful Elite: Everyone in her books is either already filthy rich or becomes that way via hard work and success, with all the privileges/drawbacks that come with it.
  • Beauty Equals Goodness/Beauty Is Bad: And how. Every. Single. One. of her lead characters is stunningly gorgeous or handsome, and if they're over forty, it's frequently mentioned that they look much younger than they actually are. Their good looks are just the tip of the iceberg, as the reader soon learns that they are perfect in every other way—intelligent, funny, hard-working, etc. Any "flaws" only serve to make them more endearing. The closest she's come to an unattractive heroine is the Hollywood Pudgy protagonist of the book "Big Girl".
    • Conversely, her villains are just as attractive but it's always repeatedly stated that their good looks are artificial and fading, (whereas the heroine is naturally lovely without any extra effort on her part necessary), and is the only attribute they have.
  • Big Applesauce: While she sets her books all over—see Scenery Porn below—New York City is a favorite locale, probably because it's where she's from.
  • Broken Bird: The female protagonist.
  • Chick Lit
  • Description Porn: Steel likes to treat her readers to endless descriptions and mentions of everything. The reader will read over and over about how gorgeous a character is, how beautiful their home is, how perfect their life is, etc.
  • Deus Angst Machina: Very common. An example is Gabbie in The Long Road Home, who has a very abusive mother, a father who doesn't help and leaves when she is 9 years old. Her mother then moves to California and leaves her in a convent, where she decides to become a nun and falls in love with a priest. However, they are not allowed to be together, and her lover feels guilty and hangs himself. She is kicked out of the convent and ends up moving into a boarding house. Just as things seem to be moving up, she falls in love with a con-man who beats her half to death so he can get the money she was left in a will.
  • Double Standard: Very often, depending on the type of character. Questionable or controversial behavior is always given a positive spin for her heroic characters, while being portrayed as downright despicable for her villains.
  • Domestic Abuse: An occasional subplot. And the main plot of the book Journey , though she chooses the emotional/verbal variety.
  • Ephebophile: The 49-year old "hero" of one of the subplots of Family Album is this, as he falls in love with a 15-year-old girl (his daughter's best friend) and marries her as soon as she turns 18, though the relationship is consummated while she's still underage. In what is probably her worst example of PCM, it's presented as a grand romance, with many of the excuses disturbingly used by Real Life predators and their victims—"I'm/She's very mature for her age", "She looks much older than she is", etc., and her older brother and parents being painted as the villains for their vehement objections. The book ends with them still together, the Happily Married parents of five.
    • Technically, so is the "hero" of A Perfect Stranger, who at 62, falls in love with and marries his friend's 18-year-old daughter. (She's of legal age, but this disorder indicates an attraction to those 15-19 years old).
  • False Rape Accusation: At least one book had a scorned ex-lover filing one of these. And it's often inverted—a handful of her rape/ Attempted Rape stories will have the assailant claiming that the woman tried to seduce him.
  • Flat Character: Plenty. Especially if someone's sole purpose is to be a villain. Even the good characters get this if they're merely just a stop on the hero or heroine's way to true love.
  • Gay Best Friend: Or relative. Any gay character in her books typically falls into this category.
  • Good Adultery, Bad Adultery: It will almost always be perfectly okay for the hero/heroine to cheat on his/her partner/spouse, because said partner/spouse is a horrible, awful person. Conversely, it will always be despicable for the villain to cheat on his/her wonderful, perfect lover—played perfectly straight in The Wedding, where the heroine cheats on her boyfriend with a man she meets on a business trip, but it is outraged when she comes home and finds him cavorting with another woman. He's regarded as a bastard and gets kicked out, while she ends up marrying the other guy at the end, in the wedding in question.
    • To her credit, Steel does not always make all the bad adulterers male and good adulterers female and she often subverts this trope as well.
  • Good Girls Avoid Abortion: Played straight in the few books that tackle this topic, usually in one of the ways laid out in the tropes page description. Occasionally, either the woman who wants the abortion or the man who wants her to have one is portrayed as a selfish jerk:
    • Averted in the novel Changes, when a teenage girl has one. Despite becoming ill afterwards, she is never portrayed as bad or condemned for her decision. Played straight later in the book, her mother becomes pregnant and contemplates having one, given the upheaval that the family is currently in, but sure enough decides against it.
    • Played straight in Heartbeat, when a woman's husband wants her to have one (having been abused as a child, he doesn't want to have any kids himself). When she refuses, he divorces her.
    • In the novel Daddy, the titular character's wife intended to have an abortion every time she got pregnant—she didn't feel ready for a child the first time, felt overwhelmed at the thought of caring for two infants the second time, and simply did not want to have any more children the third time. Each time, her husband talked her out of it, and she is never portrayed as anything but a loving mother.
    • Jewels. When a man discovers that his wife intends to have an abortion, he is shocked, having thought she was just as thrilled about her pregnancy as he was. It turns out that she doesn't want children and that the child in question might not even be his—she's been having an affair with his brother. Her infuriated husband informs her that the child is his—his brother had a vasectomy—and proceeds to basically force her to play this trope straight by offering her money to have the baby and threatening to divorce her without a dime should she even legitimately miscarry. This is borderline abusive behavior that is portrayed as completely okay because she's a horrible person.
    • The Apartment: When a woman decides to have an abortion as she simply doesn't feel ready for a child just yet, her boyfriend proceeds to do everything he can think of to prevent this—begging, demanding, offering to take sole custody of the baby, even going to the courts to try and find some legal way to stop her from doing it. Despite this downright abusive level of control that he attempted to take over her life, she eventually changes her mind and the book concludes with them happily engaged and anticipating the baby's birth.
  • Good People Have Good Sex: Ad nauseum. The heroes and heroines always have a terrific sex life, with it always being better than it was before.
    • Even if it was already good before—the protagonists of Daddy and Dating Game are floored at how spectacular sex with their respective new paramours is—"Daddy" outright says that he thought his and his ex-wife's love life was "perfect".
  • Gratuitous Rape: Often paired with numerous other versions of Rape Tropes—Rape as Drama, Rape as Backstory, etc. In a book where the female lead was already going through hell — daughter injured in a car accident, husband cheating and leaving her for the other woman, distant ice queen mother and equally frigid sister, was it really necessary for a revelation that she'd been sexually abused by her father? There are numerous examples in her books, but that one really stands out as it has no bearing whatsoever on the story.
  • Happily Ever After: How all her books end, no matter what trauma her protagonists have been put through.
  • Ivy League for Everyone: In line with the "elite" trope mentioned above, most of her characters attend or are alumni of Ivy League colleges, their equivalents (the Seven Sisters, Oxford, the Sorbonne, etc), or schools that are excellent in their own right—NYU, Stanford, etc.
  • Lifetime Movie of the Week: During the early-to-mid '90s, many of her books were adapted for television. Although they initially ran on network TV, sure enough, Lifetime soon acquired the rights to them. It probably helps that her books are essentially literary versions of this trope.
  • Marital Rape License: Occasionally, some of the villainous husbands to their wives. And disturbingly enough, one of the heroic husbands displays this towards his wife on one occasion. His demeanor is playful and cajoling, but the bottom line is, she declines his advances and he ignores her refusal. As cited in the "morality" post, this is never portrayed as wrong, and worse yet, implied that she deserves this because she's been cheating on him.
  • Mills and Boon Prose: The sex scenes in her novels usually fall into this.
  • Monochrome Casting: Only one of her heroines has been non-white (the Japanese heroine of the novel Silent Honor), and in the novel HRH, the titular heroine travels to an African country for missionary work. Aside from an occasional Black Best Friend, one would think minorities didn't exist in the Danielle Steel universe.
  • Mum Looks Like a Sister: Any character who either is or becomes a mother is repeatedly said to look more like her child's older sister.
  • Older Than They Look: Related to that, any character over 40 is repeatedly said to look much younger than they are.
  • Protagonist-Centered Morality: Related to several other posts on this page. Pretty much anything her heroes/heroines say or do is portrayed as perfectly good or okay, while when the villains do the exact same thing, it's despicable. Case in point, in The Wedding, when the heroine comes home from a business trip, she's outraged to find her boyfriend cavorting with another woman—even though she spent her trip cavorting with another man. His fling is treated as cheating and she throws him out. Hers is treated as her finding true love and the book concludes with her marrying the other guy. Or in The Duchess, where the heroine runs a whorehouse, but this is apparently okay as it's full of High Class Call Girls.
  • Rich Bitch: Most of the villainous women are also wealthy.
  • Ripped from the Headlines: The book Vanished is clearly based on the kidnapping of Charles Lindbergh, Jr. With a much happier ending, of course—the child is eventually found safe and sound, his father is revealed to be the one who engineered everything, allowing the heroine to get him out of her life and reunite with her first love.
    • Rushing Waters, is clearly based off the events of Hurricane Sandy in New York, even referencing the tragedy several times.
  • Scenery Porn: Steel likes to set her books in glamorous locations—New York, San Francisco, Los Angeles, Paris, London, etc—and treat the reader to endless, repetitive descriptions of them.
  • So Beautiful, It's a Curse: It is outright stated that the reason one of the heroines in "Kaleidoscope" has spent her entire life fending off sexual assaults is because of her beauty. It's also implied that beauty is somehow the reason for many of her other heroines' woes due to the jealousy of those less fortunate.
  • Strictly Formula: Probably what she is most known for. Common elements include the female protagonist who had a hard life but who now is most likely a career woman, who is with a husband who cheats and lies to her and is probably abusive, then she will meet a wonderful man who changes her life, who may be still married or unavailable in some way. They will have their affair and get together at the end. Or, this man may turn out to be a Romantic False Lead and he will either die or they will get divorced, then she falls in love with another man (or the same guy again) and they have hot sex and live happily ever after.
  • Sympathetic Adulterer: Usually either because the cuckolded spouse is evil or also cheating. And even if not, he or she is often portrayed as genuinely remorseful.
  • Trauma Conga Line: For someone whose books are geared towards women, Steel has a disturbing tendency to frequently employ this trope, "Malice" and "The Long Road Home" being two of the most egregious examples. The only redeeming factor is that there's always a happy ending for the protagonist but still...
  • Too Happy to Live: If a book starts off with an endless description of a character's utterly perfect life, there's a pretty good chance that either (a) all hell is going to break loose any minute, or (b) the person is a Stepford Smiler who is actually miserable, despite the seeming perfection.
  • Wanton Cruelty to the Common Comma: Sometimes... her characters... they tend to use a lot of... ellipses... usually when they are in deep thought.
  • Whole Plot Reference: The novel Fairytale is based on, Cinderella, with the Gender Flip of the heroine having to deal with two evil stepbrothers.
  • Write Who You Know: While she has no specific Author Avatar, many elements of her personal life are filtered through her books. The two books that launched her writing career, Passion's Promise and Now & Forever are based off her brief marriage to a prison inmate. She also often sets her books in New York, where she is from.