The romance plot is one of the most pervasive narratives in Western society. It is a cultural masterplot: a story with which almost everyone is familiar, which can deeply and intrinsically shape the way we think about how we live. This article examines how people interact with the romance masterplot and how it affects their search for love on dating apps in Australia during the global pandemic in 2020. Using data drawn from interviews and focus groups, and combining sociological research and narrative theory, we explore the way the romance masterplot affects the way people approach romance in dating apps, and how this has been complicated by the pandemic. We propose that participants use of dating apps in this period was characterised by 'jagged love', which we have theorised in relation to Zygmunt Bauman's notion of 'liquid love'. This manifested cyclically, as participants turned to the apps seeking the security offered by the romance masterplot in a time of global uncertainty; swiped, matched, and messaged in large numbers, and lost faith in the apps ability to deliver on the romantic masterplot. While episodic behaviour on dating apps is not new, the pandemic heightened and accelerated the process as people desperately sought the certainty offered by the romance masterplot, quickly lost faith because of the limitations of the pandemic, and then returned again.

In the 1990s, a fascinating genre emerged: the virginity loss confessional genre, in which autobiographical stories of virginity loss are collected and curated. This article draws on the work of Michel Foucault and Kenneth Plummer to explicate the historical and theoretical bases behind this contemporary confessional storytelling practice, outlining the genre's historical and therapeutic purposes. It also considers the significance of virginity loss and the relevance of these stories in the 21st century. It illustrates how and why virginity loss stories have been told in the past, and the reasons why publicly telling these stories has become a common practice in recent decades.

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The term 'new adult' was coined in 2009 by St Martin's Press, when they sought submissions for a contest for 'fiction similar to YA that can be published and marketed as adult – a sort of 'older YA' or 'new adult'.' However, the literary category that later emerged bore less resemblance to young adult fiction and instead became a sub-genre of another major popular genre: romance. This Element uses new adult fiction as a case study to explore how genres develop in the twenty-first-century literary marketplace. It traces new adult's evolution through three key stages in order to demonstrate the fluidity that characterises contemporary genres. It argues for greater consideration of paratextual factors in studies of genre. Using a genre worlds approach, it contends that in order to productively examine genre, we must consider industrial and social factors as well as texts.

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The romance publishing landscape in the Philippines is vast and complex, characterised by entangled industrial players, diverse kinds of texts, and siloed audiences. This Element maps the large, multilayered, and highly productive sector of the Filipino publishing industry. It explores the distinct genre histories of romance fiction in this territory and the social, political and technological contexts that have shaped its development. It also examines the close connections between romance publishing and other media sectors alongside unique reception practices. It takes as a central case study the Filipino romance self-publishing collective #RomanceClass, analysing how they navigate this complex local landscape as well as the broader international marketplace. The majority of scholarship on romance fiction exclusively focuses on the Anglo-American industry. By focusing here on the Philippines, the authors hope to disrupt this phenomenon, and to contribute to a more decentred, rhizomatic approach to understanding this genre world.