This chapter argues that this collapse of slash into a special case of genre romance fails to take into account the generic markers that clearly distinguish the two. Whatever set of structural elements one sees as defining romance fiction - Janice Radway lists thirteen "functions" in her narrow study, while Pamela Regis and jay Dixon have more recently offered shorter, more flexible accounts - when we examine slash fiction for these elements we find them transformed, replaced, or markedly absent. (121-122)