This weekend I started a new story (another dream sequence) that screamed Gothic romance to me, based on the traditional rules and conventions of the literary style. I developed a book cover based on a mysterious and enigmatic painting at the centre of the story. It did not read dark or paranormal, and it became clear to me that today people do not actually understand what Gothic literature or Gothic romance literature are, though not surprising in this age when so few people really read a lot of literature. I can guarantee you that I have read several hundred original examples of the traditional Victorian/ late 19th century era pulp novels that were published at this height of the emergence of this literary style. All of the bad writing examples that were just published en masse that fit this literary style, I have probably read them all. Let's look at the development and traditional conventions of Gothic literature. Today, I can understand the confusion because if you google "Gothic romance" today's genre sampling might create a very different impression that it's romance about vampires, ghosts, or werewolves, or required paranormal, which it does not. Gothic literature evolved out of the Romantic period. You could say that at the centre of Gothic descriptions could be a celebration of the grotesque, which does not automatically translate to a requirement to say that the paranormal is sexy or romantic. In Gothic literature, this grotesque did not have to be horror, nor did it have to paranormal. If you want to look at the evolution of these styles, Southern Gothic literature was the next stage that took this element of horror or grotesque more literally. Robert Hume even had OPINIONS about the rise of Gothic literature, referencing one of my staples: Burke on the Sublime and Beautiful https://knarf.english.upenn.edu/Articles/hume.html Gothic Romance literature then takes the Gothic elements and added them to a story centred around love interest between two characters. It does not require those characters to be anything other than human. I feel that it might be fitting for the plethora of modern books containing these elements to be called something other than Gothic Romance due to this understanding. Paranormal Romance would be more accurate, for example. "Gothic" it is not, however. EXAMPLES Let's look at some traditional examples and then understand what descriptions of rules and conventions actually are described by the term "Gothic Romance."
 "Jane Eyre," "Wuthering Heights," and "Rebecca" are considered examples of Gothic romance. These novels, written by Charlotte Brontë, Emily Brontë, and Daphne du Maurier, respectively, incorporate Gothic elements, atmospheric settings, intense emotions, and mysterious occurrences. Therefore, here are some descriptions of rules and conventions given by these examples: Atmospheric Settings: Gothic romances often take place in mysterious, atmospheric settings such as ancient castles, decaying mansions, or isolated landscapes. These settings contribute to the overall sense of mystery and suspense. (If you want traditional Gothic Romance literature, almost nearly always as a requirement is an old house that's falling apart, frequently representative of the family inside - see the House of Usher.) This is a much more important figure than anything paranormal. The house is the grotesque character in and of itself, without being required to be haunted. Many of the pulp examples I referenced had children or aunts or uncles in the attic banging around. Jane Eyre provides an example of this as well. Celebration of the Grotesque: Many Gothic romances incorporate elements of the grotesque, which involves a blending of the bizarre, strange, and often macabre. The presence of the mentally ill woman in the attic in "Jane Eyre" is a classic example. This character, Bertha Mason, embodies the grotesque and serves as a metaphorical representation of societal fears and repressed elements. She is celebrated literally going down in a blaze of glory! In broader pulp examples I referenced, Tension between Authority and Freedom: The female protagonists in Gothic romances often grapple with societal expectations and limitations imposed by authority figures. These figures could be oppressive family members, societal norms, or even supernatural forces. The tension arises from the protagonist's desire for personal freedom, self-determination, and the pursuit of true love, which may be hindered by external constraints. In "Jane Eyre," Jane faces challenges imposed by authority figures such as her cruel aunt and the oppressive Lowood School administration. Later in the story, her relationship with Mr. Rochester introduces another dimension to this tension, as societal expectations and moral considerations come into play.
This struggle for autonomy and the pursuit of personal freedom against societal constraints are recurrent motifs in Gothic romance. It not only serves as a source of conflict but also contributes to the emotional and psychological depth of the narrative, allowing readers to empathize with the protagonist's journey toward self-discovery and independence.
In the many pulp examples I mentioned, this would frequently be represented by women of ignoble or questionable birth or parentage, frequently ending with inheritance of fortune, or taken in by a kindly older male figure, according to the societal context and traditions in which these works were written.
Secrets and Hidden Pasts:Â
Characters often have hidden pasts, and the unraveling of secrets contributes to the suspense. Discovering the truth about a character or a location is a common theme.
In addition, themes of being haunted by the past and regrets are common. The emotional and psychological intensity is much more the focus of Gothic romance than anything directly related to the paranormal or horrific.
Romantic and Emotional, as well as Emotional and Psychological intensity:
Intense emotions and heightened passions, often involving love, terror, and madness.
Romantic elements intertwined with the mysterious and eerie. These elements are often much more present in suggestive, etherial, and psychological ways than outright horror. Therefore, if you do as I have done to create a story based in these elements and conventions, it will, in fact, fall in the style of Gothic Romance, even if there are no ghosts, vampires, or werewolves. Here is a description of my story, as an example, that would be confusing to the uninformed how it would be Gothic Romance if there was not a traditional understanding of the conventions, and there was a mistaken impression provided by google search results for the term. In this title, "The White Umbrella" is the central motif, representing the seemingly innocent and pure connection between Lacey and Garrett. The act of trying to open or close the umbrella in the painting symbolizes their shared experiences and endeavors throughout their lives. the pure and untainted aspects of their relationship, contrasted with hints at the hidden mysteries, untold truths, and darker elements that may be concealed beneath the surface. emphasizes the idea that the white umbrella in the painting serves as a protective and shared space for Lacey and Garrett. The act of trying to open it represents their joint efforts in navigating life's challenges, maintaining a sense of innocence even as they face the complexities of their relationship. This title suggests that the umbrella symbolizes a sanctuary they create together, a shared refuge from the storms of life. It evokes an image of them standing side by side, facing the world together under the shelter of the white umbrella, reinforcing the theme of their enduring connection. If those from other cultural traditions than the very anglo-centric origins of this style want to translate these concepts to their culture, or if speculative authors want to blend this with genres like Sci-fi or Fantasy settings, then the foundations and fundamentals of these conventions should be used in light of social norms of their culture of origin. Those essays can also be made by selecting the fundamental foundational conventions of closely related : Gothic, and Southern Gothic. The categorisation of these works should be done appropriately by aligning these elements with the actual conventions of these styles, rather than modern pop culture. Hope this inspires you to write your own version of this traditional literary style! Get Writing!
