If you've got an unpublished essay on romance, you might be able to submit it for the Francis Award, which comes with a $250 USD prize and publication (after any needed revisions) in JPRS. The annual deadline for submissions will be December 31, and the winner will be announced in April.
Conseula Francis’s work on popular romance fiction focused on African American authors and representations of Black love, and priority for the Francis Award will be given to manuscripts that address Black-authored popular romance fiction and other work on Black love. Manuscripts on 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—will also be considered.
More details here: http://www.jprstudies.org/submissions/the-francis-award/
Congratulations to Inmaculada Pérez Casal on the completion of her thesis, Antecedents and Development of the Contemporary Romance Novel in English: A Study of the Contribution to the Genre by Rosamunde Pilcher and Lisa Kleypas (Universidade de Santiago de Compostela)!
Other newly completed works on romance are:
Allan, Jonathan A., 2020. “Mourning and Sentimental Heroism in Maureen Child's Lost in Sensation.” The Journal of Popular Culture. Online First.
Allan, Jonathan A., 2020. “'And he absolutely fascinated me': Masculinity and Virginity in Sherilee Gray’s Breaking Him.” Journal of Popular Romance Studies 9. [Open access.]
Charlton, Michael, 2020. "Till Death Do Us Part: Romancing the Stone, Death Becomes Her, and the Romance Genre." A Critical Companion to Robert Zemeckis. Ed. Adam Barkman and Antonio Sanna. Lanham, Maryland: Lexington Books. 17-29.
OKell, Eleanor Regina, 2020. "Hercules as Romantic Hero in Twenty-first-century Historical Fiction." The Modern Hercules: Images of the Hero from the Nineteenth to the Early Twenty-First Century. Ed. Alastair J.L. Blanshard and Emma Stafford. Leiden: Brill. 121–145. Here's the abstract:
This chapter will examine Hercules as a romantic hero in two distinctly different examples of the historical novel, which can be classified as chick lit.: Kate Mosse’s serious historical fiction Citadel, which is set in the Languedoc during the Second World War, and Stephanie Laurens’ romantic historical fiction The Truth About Love, set in Cornwall during the Regency period. Both these novels invoke Hercules by name and the hero provides contextualisation for the events and relationships therein. For example, in Mosse the myth of Hercules’ relationship with Pyrene underpins the whole landscape (it is an origin myth for the Pyrenees) and in Laurens the Garden of Hercules forms a frequently referenced part of the landscape which is of significance for events in the plot. In both novels the presentation of Herculean myth as a background prompts the reader to extrapolate from the legend of Hercules to the characters depicted and their struggles. The similarities of and differences between the two authors’ uses of Hercules demonstrates not only that twenty-first-century chick lit. is open to exploring facets of the ancient hero’s character which go beyond monster-slaying and into the realm of the romantic/erotic but also that the genre of chick lit. can exhibit qualities more commonly associated with ‘serious’ literary fiction.
Reed, Eleanor, 2020. ‘Romance in Woman’s Weekly and Woman’s Weekly as Romance, 1918–39’, Journal of European Periodical Studies 5.2: 80–94. [Pdf available free online here.] The focus is on issues related to social class, but I thought this observation, that romance in these magazines functioned as a safe space within which to explore issues, relates to what I've described as romance's "pastoral care" function:
Interwar Woman’s Weekly fiction engages with issues including the rehabilitation of First World War veterans, marriage to a widower, frustration with housework, and single motherhood. Each story invites its reader to identify with a heroine whose experiences and dilemmas may parallel her own, and it is romance’s familiar, predictable structure that allows her to work through these potentially difficult or distressing issues. The guarantee of a happy ending establishes the story as a safe narrative space within which she can confront everyday problems. (86)