she wrote the tragedy Frederick, Duke of Brunswick-Lunenburgh to honour Frederick, Prince of Wales. George II's son was later a locus for Patriot Whig and Tory opposition to the ministry of Robert Walpole. As he made it clear that he did not favour his father's policies or ministry, praise for him was a demurral. However, when Haywood wrote the play, it is likely that she was still aiming to secure the patronage of the whole royal family, including Queen Caroline, as the royal split had yet to occur. Others, such as James Thomson and Henry Brooke, were also writing such "patriotic" plays (i. e. supportive of the Patriot Whigs) at the time, and Henry Carey would soon satirise the failed promise of George II. Haywood's greatest Haymarket success came in 1733, with The Opera of Operas, an adaptation of Fielding's Tragedy of Tragedies with music by J. F. Lampe and Thomas Arne). However, it was an adaptation with a sharp difference. Caroline of Ansbach had affected a reconciliation between George I and George II, which meant an endorsement by George II of the Whig ministry. Haywood's adaptation contains a reconciliation scene, replete with symbols from Caroline's own grotto. This enunciated a change in Haywood herself, away from any Tory or anti-Walpolean causes she had supported previously. It did not go unnoticed by her contemporaries. In 1735, Haywood wrote a Companion to the Theatre. The volume contains plot summaries of contemporary plays, literary criticism, and dramaturgical observations. In 1747 she added a second volume. After the Licensing Act of 1737, the playhouse was shut against adventurous new plays such as hers. Fiction Haywood, Delarivier Manley and Aphra Behn were seen as "the fair triumvirate of wit" and major writers of amatory fiction. Haywood's prolific works moved from titillating romance novels to the amatory during the early 1720s to works, focusing more on "women's rights and position" (Schofield, Haywood 63) in the later 1720s into the 1730s. In the middle novels of her career, women would be locked up, tormented and beleaguered by domineering men, but in the later ones of the 1740s and 1750s marriage became a positive move for men and for women. Due to the system for paying authors in 18th-century publishing, Haywood's novels often ran to multiple volumes. Authors would be paid only once for a book and receive no royalties: a second volume meant a second payment.