In response to the increasing global awareness of trauma, this article argues for a trauma-informed approach to the study of the romance genre. It introduces and defines three trauma-themed romance subgenres—trauma romance (TR), transitional post-trauma romance (TPTR), and post-trauma romance (PTR). Each subgenre features distinct representations of trauma, its effects, and recovery within a romantic narrative. Drawing on original doctoral research, the article outlines the core features of each subgenre and provides comparative analysis supported by exemplar novels, a typology table, and appendix of novels. By articulating how these subgenres vary, this article demonstrates their literary, ethical, and scholarly value. It also explores why researchers must adopt trauma-informed practices and offers guidance around practical entry points for starting that process. Finally, this article highlights opportunities for interdisciplinary research across romance studies, trauma theory, gender studies, literary theory, and psychology.
Before turning to the following topic of the trauma genre, I offer a brief aside: while most scholarly definitions imply or outright state the presence of at least two characters involved in a romantic relationship in a romance novel (mine included), I further contend that stories of self-love—or what I refer to as autoromance—can equally constitute a valid form of romance narrative within the romance genre. (I predict these will become more popular in the decades to come.)
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Modern narratives within the romance genre regularly incorporate characters with traumatic pasts; however, it is only in recent decades that trauma has become central enough within the romance genre narrative—and acknowledged enough within the popular consciousness—to merit subgeneric classification.
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I propose that the term trauma-themed romance subgenres can be used to describe romances that integrate trauma not merely as backstory but as an intentional structural and elemental core. Additionally, I submit that these subgenres must meet two essential criteria. First, they centre a romantic relationship involving two or more characters and conclude with a happy and satisfying ending. Second, they represent trauma in a way that affects character arcs and/or plot structure. These two essential criteria reflect the core features of both the romance genre and trauma genre, as previously outlined. While it can be argued at this point that trauma-themed romance subgenres could be grouped or nested under the trauma romance umbrella, I adopt a distinct classification to emphasise the identifiable differences and nuances between these subgenres.
Here's the abstract:
Details concerning the original doctoral research referred to can be found in the entry for Broken Hearts: Writing The Representation of Trauma and Trauma Recovery in a Post-Trauma Romance Novel written under the name Alicia Kindleysides.
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