This article is broadly interested in the adaptation and circulation of the mass-market romance genre as one example of the publishing industry’s production and distribution of cultural artefacts within and across national borders. To consider this, the article focuses on the most successful mass-market romance publisher in the world, Harlequin-Mills & Boon, to ask the following questions: how has Harlequin-Mills & Boon, but particularly its international expansion into and operation in ‘foreign’ markets, been key to the contemporary success of the genre? What are some of the key strategies of the publisher’s adaptation of the genre to new national markets, particularly in terms of issues of generic repetition and difference? What can Harlequin-Mills & Boon’s negotiation of one national market, namely the Australian market, reveal about these questions in more detail? And how has the Australian ofﬁce’s recent shift from importing international content to commissioning local content signalled a critical shift in its adaptation of the genre to the national market? Ultimately, this paper proposes that these changes signal the publisher’s entre´e into the creative economy and the Australian ofﬁce’s shift away from being a branch ofﬁce and towards being a creative branch.