Hearing Ghosts: Writing a Low Fantasy YA Gothic Fiction for young adult males

There is enough discussion of paranormal romance that I felt I should include this dissertation in the database, but this is not exactly a thesis about paranormal romance: the analysis of the paranormal romance is subordinate to the larger aim of the author, which is to identify features of paranormal romance that differ from those of the work which he himself has written. Here's the abstract:

This paper examines binaristic gender norms in the field of Low Fantasy Young Adult Gothic literature. The twenty-first century has witnessed a significant increase in the popularity of Gothic fiction for young adults. The genre’s vogue arguably lies in its suitability as ‘an ideal mode of expression for the emerging adolescent,’ (Coats, 2008:84). It takes as its concern a range of contemporary anxieties experienced by teenagers pertaining to issues of gender, sexuality, race, social media and technology. However, Smith and Moruzi contend that ‘by far the majority of YA Gothic texts feature white, often middle class, typically heterosexual female protagonists.’ (Moruzi et al, 2021:6). The rising popularity of the paranormal romance has contributed to a surge in the number of young female readers (and writers) of the genre. These readers can explore contemporary YA Gothic literature as a platform for expressing adolescent female concerns. Concomitantly, a generational shift has occurred wherein young male readers of Gothic fiction have retreated from the genre, (Crawford, 2014: 235) perceiving that YA Gothic novels offer them no such expressional outlet. The objective of the Creative Writing unit accompanying this thesis is to produce a “cross-cutting” YA Gothic novel intended to appeal to both male and female young adult readers. My novel positions a male protagonist at its heart, aiming to address and delve into teenage male issues and themes. It seeks to serve its male readers as paranormal romance serves its female readers. Drawing from a content analysis sample of YA Gothic novels published in the late twentieth and early twenty-first century, and grounded in theories and scholarship from Hendershot (1998), Botting (2008) and Todorov (1973), which explores the gendered histories and modalities of the Gothic, as well as insights from my own novel, this paper examines binaristic gender norms in Low Fantasy YA Gothic fiction. It argues that these norms prevent the genre from serving as a locus for young male anxieties and concerns. These concerns include representation of mental health problems in young males, romantic relationships, and the changing nature of adolescent male identity. The narrative technique of pregnant hesitancy is showcased as an effective method of imbuing a Low Fantasy YA Gothic novel with such themes. The paper also reflects on the specific inspiration and process for the creative work. A source of toxic gendering norms is located via an exercise in creative reflective practice conducted by the present writer, wherein the habit of fridging (Simone 1999) is explored and discussed.