Sunday, July 09, 2017

News + New Items: Thai Romance, Keepers, Disability and more


I'm always very happy to see scholars moving into the field of romance studies, so I'm glad to be able to mention that Johanna Hoorenman "is currently working on a cultural history of Native American themed popular romance novels, tracing the roots of the subgenre to early American women's captivity narratives and James Fenimore Cooper's The Last of the Mohicans" (http://muse.jhu.edu/article/662582).

Ria Cheyne's written a post for Public Books about "Disability and the Romance Novel."

Kecia Ali's been at Smart Bitches Trashy Books to talk about her Human in Death: Morality and Mortality in JD Robb’s Novels.

Mary Lynne Nielsen writes at Dear Author that "the idea of some level of financial security is interwoven in romance."

Christian Peukert and Imke Reimers have found that "romance novels are more likely to be self-published than other genres [...]. The difference becomes particularly evident after 2010, as self-publishing became a successful “mainstream” distribution channel" and "After 2008 (the year after the introduction of the Kindle), there is a small increase in advances for romance novels, compared to a slight drop in advances for other genres. More pronounced, there is a sharp increase in deal sizes for romance novels after 2010 (the introduction of the iPad), whereas the deal sizes for all other categories remain almost constant." They write that:
The fact that more deals were made with future stars among the romance genre throughout the time period of our study suggests that publishers have been able to predict the future success of romance novels better than the success of non-romance books. After 2010 – concurrent with the large rise in self-publishing among romance bestsellers – the ability to predict bestsellers among romance novels increased further, with an increase in the share of future bestsellers among romance deals from about 2% to 5%.

New to the Romance Wiki academic bibliography are:

Markert, John, 2017. 
“God is Love: The Christian Romance Market.” Publishing Research Quarterly. Online First.
Christian publishers have long produced romance novels, but the production of these slim books of love have not been a significant part of their overall output. This started to change in the 1980s in response to the increased sensuality found in secular romance novels. The Christian romance has undergone even more of a resurgence at the outset of the new millennium for the same reason: secular romances have notched up the sensuality of their romances today and Christian houses have responded to their constituents who tire of the sexual slant of these secular novels. Indeed, the strength of the Christian market has not gone unnoticed by mainstream houses and numerous secular houses, notably Harlequin, are today producing Christian-themed romances. The secular Christian message is somewhat attenuated, however, which helps explain the continued popularity of those romances produced by Christian publishers. (Abstract)
Khuankaew, Sasinee, 2017. 
"Femininity and Masculinity in Twenty-First Century Thai Romantic Fictions." The Asian Conference on Literature 2017: Official Conference Proceedings. [pdf available free in full online]
This paper is a thematically chronological supplement to the work in
Khuankaew, Sasinee, 2015. 
"Femininity and masculinity in three selected twentieth-century Thai romance fictions." Ph.D thesis, Cardiff University. Abstract Pdf
Veros, Vassiliki, 2017. 
"Keepers: Marking the Value of the Books on my Shelves." Proceedings from the Document Academy 4.1, Article 4. [pdf available free in full online]

Saturday, July 08, 2017

The Canary Islands in London (July 2017)


The Canary Islands group of romance scholars will be at EUPop2017 (The 6th international conference of the European Popular Culture Association at the University of the Arts London) on 27 July to present a panel:

"Sociolinguistic awareness in a corpus of popular romances set in the Canaries" - María Isabel González Cruz

"Sights and Insights into Spaces of Romantic Desire: Representations of Landscape and Place in contemporary romance Novels set in the Canary Islands" - Mª del Pilar González de la Rosa

"The Exotic ‘Other’ in Jane Arbor’s Golden Apple Island" - María del Mar Pérez Gil

"Cultural symbols, myth and identity in four 20th century English popular romance fiction novels set in the island of Tenerife" - María Jesús Vera Cazorla

Sunday, May 28, 2017

Food for Thought: Romance Readers More Moral, a Philosophical Romance and more


According to some new research on popular fiction
the more Romance [...] authors participants recognized, the fewer morally dubious [...] scenarios they believed permissible [...]. In fact, once Moral Purity concerns - a measure of the importance people place on purity or sanctity when making moral decisions - was controlled for, Romance was the only variable besides Science Fiction that was clearly related to Moral judgment.(22)
The authors do note that "the correlational nature of this study limits any causal inference: it could [...] be the case that when it comes to choosing novels, people pick stories that will enforce their existing beliefs and desires" (23) but perhaps
reading romance novels, in which clearly identified heroes and heroines achieve an "optimistic, emotionally satisfying" ending [...], may encourage readers to view the world in black and white terms. That romance novels tend to end with a "happily ever after" may be particularly relevant given prior research showing a relationship between fiction exposure and Just World beliefs. (24)
The paper by Jessica E. Black, Stephanie C. Capps and Jennifer L. Barnes can be found here. Please note, though that this is a pre-print version and the final version of "Fiction, Genre Exposure, and Moral Reality" may differ a little from the version in Psychology of Aesthetics, Creativity, and the Arts.

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Sydney E. Thorp, an Honours Philosophy student at Hamline University, has written their honours project in the form of a romance novella, complete with a central love story and happy ending. The protagonists do briefly discuss popular romance fiction, too: Eva, our philosopher heroine, comments
"You want another example of how women and romantic love are easily dismissed?" Ava asked, frustrated. "Two words: romance novels. Even though the romance novel industry is an enormous, billion-dollar-a-year industry, almost entirely dominated by women - female authors, editors, publishers, et cetera - no one takes romance novels seriously as a genre of fiction. And why? Most likely, because it is connected with women." (15)
 The story
follows two people as they try to determine what romantic love is, and why it was a neglected or minimized philosophical object for centuries. As the characters converse, they develop the concept of philosophy described above, discuss the place of women, passion, and reason in philosophy, and determine – to the extent they are able – that romantic love is something people do, rather than a feeling or state of being, and is based on an unjustifiable attraction to another person and Aristotle's concept of friendship, specifically philia.

The idea of romantic love being a practice, rather than an emotion or a state of being, seems to be uncommon in philosophical work on the topic. It seems just as rare, especially historically, to think of romantic love as being between equals, who mutually care for each other and commit equally to the relationship.
You can read the abstract and download the whole of Entangled: Romantic Love and Philosophy as a pdf from here.

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Still on the topic of love, Olivia Waite argues that, in romance novels, love isn't "a prize you earn for doing everything correctly" but, rather, "It would be far more accurate to say not that romance novel characters are looking to get love, but that love is looking to get them" and that, in terms of the plot and what the characters are hoping to achieve, "The real villain of any romance novel is love itself."

[Photo by Wolfgang Moroder and taken from Wikimedia Commons. It is not in the public domain.]


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What's food for love? Food! At least according to Jennifer Crusie, who argues that:

1) "The kind of food makes a difference because it characterizes the people eating it."

2) "food doesn’t just build romances, it builds all relationships."

3) "The person who controls the table, controls the interaction."

4) "food also says a lot about place."
 
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In the context of "place," another reminder that the next IASPR conference is all about place:
Space, place, and romantic love are intimately entwined. Popular culture depicts particular locations and environments as “romantic”; romantic fantasies can be “escapist” or involve the “boy / girl / beloved next door”; and romantic relationships play out in a complex mix of physical and virtual settings.
and
We’ve pushed the due date for IASPR conference proposals back by two weeks, to September 15, 2017. The conference will be in beautiful Sydney, Australia, just a 15 minute walk from the Opera House and the Harbor Bridge; it runs from June 27-29, 2018. The full CFP is here. Please feel free to repost and distribute it!
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Still on academic matters Amy Burge has written about the status of the "independent scholar" and I've been thinking about some gaps in the history of popular romance.

Sunday, May 21, 2017

Romance News Roundup: PhD opportunity, conference report, disability project, diversity at risk, new publications

There's a PhD opportunity at the University of Tasmania:
Popular Fiction in the Twenty-First Century
This scholarship provides $26,682pa (2017 rate) living allowance for 3 years, with a possible 6 month extension.
Popular fiction is the most significant growth area in trade publishing in the twenty-first century. This project is premised on the view that popular or genre fiction is a sector of the publishing industry, a social and cultural formation, and a body of texts. It will offer new insights into contemporary literary culture through systematic investigation of the contemporary significance of one or more popular genres (crime, thrillers, romance, or fantasy) in the twenty-first century. By employing a mixed methodology combining discourse and textual analysis, quantitative and qualitative data collection and analysis, and/or creative writing, Popular Fiction in the 21st Century aims to contribute to the increasingly urgent demand for conceptual and methodological frameworks for studying genre fiction.
More details here.

If you don't follow the Pink Heart Society blog, you might want to take a look at Amy Burge's report on the 2017 PCA/ACA conference. Ria Cheyne's there too, introducing her Disability and Romance Project, which recently gained funding from the RWA.

Unfortunately there's bad news as well as good in the romance world and
Romance Writers of America is saddened by the news that Harlequin will be ending publication of five of their series lines in 2018.
According to an announcement RWA received, the following lines will close: Harlequin Western (June 2018), Harlequin Superromance (June 2018), Love Inspired Historical (June 2018), Harlequin Nocturne (December 2018), and Kimani Romance (December 2018).
More details here. As pointed out by Kay Taylor Rea,
this news is a huge blow to the romance community for a very big reason: Harlequin is closing Kimani Romance.

Why is this a big deal? The vast majority of Harlequin titles penned by black women are published as Kimani titles. The Kimani Romance line is described as stories featuring ‘sophisticated, soulful and sensual African-American and multicultural heroes and heroines who develop fulfilling relationships as they lead lives full of drama, glamour and passion.’ These titles cover a number of subgenres, so hopefully Harlequin will make a concerted effort to integrate existing series and current authors into other lines. 

I’ll be keeping an eye out for official word from Harlequin and will certainly be watching how the Kimani authors are treated. This could be a huge setback for diversity in romance.
More details here.

And, finally, the latest publications to be added to the Romance Wiki:
Gardner, Jeanne. 2011. 
"'True-To-Life': Romance Comics and Teen-Age Desire, 1947-1954." Forum for World Literature Studies, vol. 3, no. 1, Apr. 2011, pp. 118-128. 
Kamble, Jayashree, 2017. 
"From Barbarized to Disneyfied: Viewing 1990s New York City Through Eve Dallas, J.D. Robb’s Futuristic Homicide Detective." Forum for Interamerican Research 10.1 (May 2017): 72-86.[Available free and in full online.]
 
Zhou, Yanyan, Bryant Paul and Ryland Sherman, 2017. 
"Still a Hetero-Gendered World: A Content Analysis of Gender Stereotypes and Romantic Ideals in Chinese Boy Love Stories." Sex Roles. Abstract

Thursday, May 04, 2017

And the Winner Is... (First Annual Francis Award)

The International Association for the Study of Popular Romance (IASPR) is proud to announce the winner of the first annual Conseula Francis Award for the best unpublished essay on popular romance media and / or the logics, institutions, and social practices of romantic love in global popular culture. The winning essay this year is “The Stable Muslim Love Triangle – Triangular Desire in Black Muslim Romance Fiction," by Layla Abdullah-Poulos of SUNY Empire State College: a groundbreaking study of "the amalgamation of Islamic, Black American, and American notions of love, courtship, and sexual dialogue" in this emerging textual corpus. 
As the winning essay, "The Stable Muslim Love Triangle" will receive a $250 USD cash prize and be published in the peer-reviewed Journal of Popular Romance Studies. Abdullah-Poulos will also join the the panel of judges for next year's Francis Award.
The Francis Award is in honor of Conseula Francis, whose work on popular romance fiction focused on African American authors and representations of Black love. Essays submitted to the competition may focus on work in any medium (e.g., fiction, film, TV, music, comics, or advice literature) or on topics related to real-world courtship, dating, relationships, and love; priority for the Francis Award will be given to manuscripts that address the diversity of, and diversities within, popular romance and romantic love culture: e.g., diversity of race, ethnicity, gender, religion, class, sexuality, disability, or age.
Associate provost and professor of English and African American Studies at the College of Charleston, Francis was the author of The Critical Reception of James Baldwin: 1963-2010 (2014) and the editor of Conversations with Octavia Butler (2009). In 2010, she was awarded a research grant by the Romance Writers of America for “Uncommon Pleasures: Textual Pleasure and Female Sexual Agency in Contemporary African American Romance and Erotica,” a project focused on the work of Beverly Jenkins and Zane. An essay drawn from this research, “Flipping the Script: Romancing Zane’s Urban Erotica,” was published shortly before her death in Romance Fiction and American Culture: Love as the Practice of Freedom?  Francis wrote about Zane for the NEH-funded Popular Romance Project, as well as about romantic representations of Barack and Michelle Obama during the 2012 presidential campaign.
The annual deadline for submissions for the Francis Award is December 1, and the winner will be announced in April or May of the following year.  All submissions should be sent to Erin Young, Managing Editor of the Journal of Popular Romance Studies, at managing.editor@jprstudies.org. Please put “Francis Award” in your subject line.  All submissions must be Microsoft Word documents, with citations in MLA format; in keeping with JPRS publication guidelines we will consider essays of 5000 to ~10,000 words in length.  Please remove your name or the name of any co-authors from the submitted manuscript; in your cover-letter email, please provide your contact information (address, phone number, e-mail address) and a 150-200 word abstract of the submission.
The judges for the Francis Award will be a mix of established and emerging scholars in the field of Popular Romance Studies, chosen by IASPR; each winner will be invited to join the judging team for the following year. 

Thursday, April 27, 2017

CFP: Women’s Writing in the 21st Century - Sheffield, 8-9 September 2017

From the Postgraduate Contemporary Women's Writing Network (UK)

Fast Forward: Women’s Writing in the 21st Century

“The past is always tense, the future perfect.“ (Zadie Smith)

Zadie Smith’s debut novel White Teeth was published in the January of 2000 and marked the beginning of a new millennium of women’s writing. Considering that this and other texts released around the turn of the century are soon to be the same age as current undergraduates, it seems timely to move on from well-worn discussions of literature produced in the 1970s onwards and focus on women’s writing in the twenty first century.
The contemporary, as a liminal temporal space, marks the transition between past and future and as such is not only notoriously hard to frame but its fluid and ephemeral nature continues to present a challenge in literary studies and beyond. Contemporary literature, in many ways simultaneously ‘with the time’ and then quickly outdated, presents a curious and exciting paradox to think through questions of literary form, the literary market place, the role of authors as public intellectuals and contemporary readers. The need to focus on the present and contemporary state of women’s literature seems particularly poignant in a post-Brexit and Trump era in which laws and ideas surrounding the future state of gender, race, and class politics are ever more obscure and uncertain.
Join us on the 8th and 9th September 2017 as we seek to position the most recent work (post 2000) of established authors alongside the field’s newer voices in order to facilitate a conversation about the present state – and possible futures – of women’s writing.
Possible conference themes:
  • the resurgence of women’s confessional writing
  • the recent rise in popularity of erotic and romantic fiction
  • the emergence of genres such as autofiction and autotheory in women’s writing
  • writing at the intersection of creative and critical/writing across genres
  • writers as public intellectuals and agents of change
  • new directions in writing by canonised authors
Please send abstracts of 250 words and a short bionote to conference@pgcwwn.org until 30th June, 2017.


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Details from here.

Monday, April 17, 2017

CFP: Seventh International Conference on Popular Romance Studies (2018 conference; September 1 deadline)


http://iaspr.org/wp-content/themes/heavingbosom2/img/iaspr.jpg
The Seventh International Conference on Popular Romance Studies
 
Think Globally, Love Locally?
 
Sydney, Australia
27-29 June, 2018
 
Space, place, and romantic love are intimately entwined. Popular culture depicts particular locations and environments as “romantic”; romantic fantasies can be “escapist” or involve the “boy / girl / beloved next door”; and romantic relationships play out in a complex mix of physical and virtual settings. The romance industry may be globalized, but popular romance culture is always situated: produced and circulated in distinctive localities and spaces, online and offline. Love plays out in real-world contexts of migration and dislocation; love figures in representations of assimilation and cultural resistance; in different times and places, radically disparate political movements—revolutionary, reactionary, and everything in between—have all deployed the rhetoric and imagery of love.

For its seventh international conference on Popular Romance Studies, the International Association for the Study of Popular Romance calls for papers on romantic love and popular culture, now and in the past, from anywhere in the world. We are particularly interested, this year, on papers that address the relationship between love and locality in popular culture:  not just in fictional modes (novels, films, TV shows, comics, song lyrics, fan fiction, etc.), but also in didactic genres (advice columns, dating manuals, journalism), in advertising, and in both digital and material culture (wedding dresses, courtship rituals, etc.). 

The conference will be held at Macquarie University’s city campus, 123 Pit Street, Sydney. The venue is in the heart of Sydney’s CBD shopping and dining precinct, a 15-minute walk away from the Sydney Opera House, Harbour Bridge, and historic Rocks area.

Topics of interest might include:

  • Geographies of love and sexuality
  • Love’s Settings: e.g., the imagined Outback of Rural Romances; the Scottish Highlands; romantic cities; small-town and island romances; the communal space of “Romancelandia”
  • Romantic Chronotopes: times and places when love is imagined to be “truer” or “deeper” than the here-and-now (e.g., Regency or Victorian England; medieval Provence; Tang Dynasty China; the Joseon settings of Korean TV-drama, etc.)
  • Honeymoon travel (past and present) and romantic tourism, including fan pilgrimages for romantic texts and films, destination weddings, and the like
  • Locality and LGBTQIA romance culture
  • Courtship in public and semi-private spaces: e.g., paying visits, dating, office romance, romance and car culture
  • Love’s Architectures: Hotels, Fantasy Suites, Clubs and Restaurants, Domestic Spaces (kitchens, bedrooms, Red Rooms of Pain, etc.)
  • Local, National, and Transnational Book Industries
  • Local Romance Writer Groups, Reader Groups, or Media Fan Groups / Events
  • Romance and the (Local) Library or Bookshop
  • Local Love on Television (e.g., Farmer Wants a Wife) and online (Tinder, etc.)
  • “Escapist” reading and the places / practices of romance consumption
  • Place and Race in Popular Romance
  • The “Phone-World” and other Virtual Spaces for Love
  • Off the Map: Emerging and Under-Studied Settings and Romance Cultures
·         Material locations and imaginary spaces for love, and the combination of the two in Edward Soja's concept of "thirdspace"
·         Migration and love: migration for love, love hampered by distance, love in migrant and refugee communities
·         Non-geographic love (e.g., love experienced entirely online) and the intersections of technology with long-distance love, now and in the past
·         Lieux de memoire in the context of romantic love (as opposed to national identity)
·         Love and nationalism, love and regionalism, love and (local) political struggle
 
All theoretical and empirical approaches are welcome, including discussions of pedagogy.

Submit 250-300w proposals for individual papers, full panels, roundtables, interviews, or innovative presentations to conferences@iaspr.org by 1 September 2017.  All proposals will be peer reviewed.

Friday, April 14, 2017

New Issue of the Journal of Popular Romance Studies

Eric Selinger writes:

Now that we've switched to a rolling publication format in JPRS, new pieces will appear both individually and in thematic or "special issue" groups. Today, we begin rolling out Volume 6 of the journal with a new Special Issue on Critical Love Studies, edited by Amy Burge and Michael Gratzke. The table of contents is below, and you can find the whole issue here: http://jprstudies.org/issues/volume-6. 

Enjoy! And spread the word!

E

Romance Event in Evanston, Illinois, on 29 April 2017

There's a notice in Evanston Now that there's going to be a film and Q&A session:
Love Between the Covers: Film Screening and Discussion will be held Saturday, April 29, from 2 to 4:30 p.m., Community Meeting Room, Main Library.

Every year romance lit outsells mystery, sci-fi, and fantasy combined. Yet until Emmy-Award winning filmmaker Laurie Kahn turned her camera on the genre, no filmmaker had ever taken an honest look at the amazing global community that romance writers and readers have built.

So why is romance the best-selling genre in publsihing? Do romance novels exploit women or empower them? Following the film three local romance writers, Amy Jo Cousins, Kate Meader, and Julie Ann Walker, will be on hand for a panel discussion moderated by romance scholar, Professor Eric Selinger, of DePaul University. Come for the film, but stay for the Q&A and the chance to ask all your burning questions about contemporary romance novels.

Thursday, April 06, 2017

New Disability and Romance Project

Ria Cheyne is
excited to announce the launch of the Disability and Romance Project!  Please check out the project website at www.disrom.com or follow on Twitter @DisRomProject.

As some of you know, I've been researching the representation of disability in romance for a while now; this new project will gather data from romance readers, writers and other industry professionals with the aim of better understanding how readers respond to depictions of disability in romance, what motivates authors to write disabled characters, and if there are any barriers to publishing romance novels featuring disabled characters.  

I'm delighted to have received funding from the RWA Academic Research Grant for the second phase of the project, which focuses on writers.  The first phase focuses on readers, and our reader survey is now available at:


Wednesday, April 05, 2017

Free Romance Conference, Open to the Public: Williamstown USA, 22 April 2017


Reading for Pleasure: Romance Fiction in the International Marketplace 

Saturday, April 22 at 8:00am to 4:15pm

Brooks-Rogers Recital Hall, Bernhard Music Center 54 Chapin Hall Dr, Williamstown, MA 01267, USA

Free and open to the public.


8:00 - 10:00 am:  Panel 1:  Theories of Pleasure (Brooks Rogers Auditorium on the Williams campus)
Chair:  Leyla Rouhi, Williams College
  • Laura Frost, Stanford University:  “Stories of O:  The Language of Orgasm in Women’s Romance”
  • Julie Cassiday, Williams College:  “A World Without Safe-Words:  Fifty Shades of Russian Grey”
  • Eric Selinger, DePaul University:  “Xenophile’s Paradox:  Reading for Pleasure Across the Great Divides”

10:15 am - 12:15 pm:  Panel 2:  New Subjects and Audiences (Brooks Rogers Auditorium)
Chair:  Alison Case, Williams College
  • Sonali Dev, author:  “Genre Structure and Learning to Dance Within its Boundaries”
  • Hsu-Ming Teo, Macquarie University:  “Tigresses, Tang Dynasty, and the Ten Commandments:  The East Asian Romance Novels of Jade Lee, Jeannie Lin, and Camy Tang”
  • Jayashree Kamblé, LaGuardia Community College:  “When Wuxia Met Romance:  The Pleasures and Politics of Multiculturalism in Sherry Thomas’s My Beautiful Enemy
  • Len Barot (Radclyffe), author and publisher:  “Lesbian Romances and the International Market in the Digital Age”

2:15 - 4:15 pm:  Panel 3:  New Media Platforms and the Global Marketplace (Brooks Rogers Auditorium)
Chair:  Greg Mitchell, Williams College
  • Mary Bly (Eloisa James), Fordham University, author:  “Romancing the World:  How and Where American Romance Sells”
  •  Katy Regnery, author:  “From Stay-at-Home Mom to NYT Bestseller in 30 Months:  A First-Hand Perspective on the Digital Revolution in the Romance Publishing Industry”
  • Sarah Wendell, Smart Bitches, Trashy Books:  “The World is So Big; the World is So Small:  The Global Community of Romance”
  • Patience Bloom, Harlequin:  “Harlequin’s International Program:  A World of Romance Readers”
More details here.

Monday, April 03, 2017

RWA Academic Grant Awarded, What's New to the Wiki and a Couple of Other Links


The 2017 RWA Academic Research Grant has been awarded to:

Dr. Kate Brown, Huntington University
Dukes, Dowers, Devises, and Demesnes: The Paradoxical Place of English Law in the Historical Romance

RWA awarded funding to Dr. Kate Brown's project, which explores how English common law and constitutionalism give fundamental structure and substance to the historical romance genre.


Dr. Ria Cheyne, [Liverpool Hope] University
The Disability and Romance Project

RWA awarded funding to Dr. Ria Cheyne's project, which seeks to advance the scholarly conversation about disability and romance and will also engage with romance readers, writers and other industry professionals to encourage new conversations about romance, disability and representation.

I've only added a couple of items to the Romance Wiki bibliography recently, so I thought I'd add a few blog posts to today's post:

Anne N. Bornschein took a look at "a romance novel that deals with the history of women’s academic work—particularly in the sciences—and how it has often been erased, dismissed, or appropriated by male colleagues."

Olivia Waite observes that "writers make millions upon millions of tiny, instinctual decisions that add up to internally consistent structures" and suggests it's important to start "recognizing the partly hidden pattern[s]."

And new to the Wiki are:
Cheyne, Ria, 2017. 
"Disability Studies Reads the Romance: Sexuality, Prejudice, and the Happily-Ever-After in the Work of Mary Balogh." Culture - Theory – Disability: Encounters between Disability Studies and Cultural Studies. Ed. Anne Waldschmidt, Hanjo Berressem and Moritz Ingwersen. Bielefeld, Germany: Transcript. 201-216.
 
Matthews, Amy T., 2016. 
'Entangled: the exegetical process of a romance writer', Arts and Humanities as Higher Education December 2016.
Dr Amy T. Matthews also writes literary fiction as "Amy T Matthews" and romance fiction as "Tess LeSue." She is hoping to bring her three personae together:
The HEA is a non-negotiable element of romance and one I want to use in my literary romance novel (it is already a staple in my historical romances). The parameters I am giving myself for the literary romance is that it must be structured around at least one romantic relationship between a man and a woman (although there may be more than one), and that it must end optimistically, with a happy ending (although not necessarily the same kind of happy ending as a traditional romance). I do not want to sidestep the inevitability of suffering. I want my characters to experience love and romance in the context of real world pressures – infidelity, mental illness, bereavement  – and I want to face up to the inescapable finality of death, while still (somehow!) managing to reach that optimistic ending. This will be a point of difference between popular romance and my literary novel, and I hope it’s one I can navigate without slipping from ‘romance’ into ‘love story’.