Discussion over at Smart Bitches.
"I’ve talked about why paranormal romance is so popular and related that to the 9/11 terrorist attacks in the US, and I think that same resolution of fear is, in part, what makes vampire romance so continually interesting to readers. I think (and many people disagree with me here) that paranormal romance became superbly popular in the US market following 9/11/01, for two main reasons. First, the evil is easily identified. Either he wants to exsanguinate you, or he gets really hairy in compliment to her lunar cycle, but the otherness and the potential intent to harm is pretty easy to spot. Contrast that with the kid and a backpack on the subway who might be a student or might be ready to blow himself and his neighbors to bits. The easily identifiable evil is a comforting contrast.
Then, there’s the resolution of that otherness. Either the Other is tamed by the Power of Lurrrrve™ and the protagonists united through conversion (she becomes a vamp, he becomes a were, etc) or the Other is destroyed because it’s the antagonist preventing the happy ending. And when a paranormal creature is destroyed in romance, it’s not just a duel with a handkerchief in the dew. The offending Other is chopped into pieces, set on fire, beheaded, and possibly sent to an entirely other dimension, depending on the world building and mythology at work. There is no ass kicking like paranormal villain ass kicking."
Some interesting remarks in the comments:
"Every “new” element in romance (whether time-travel, paranormal, werewolves, vampires, fairies, robots, what-have-you) is an attempt to up the conflict quotient and thereby make the resolution that much more intense and satisfying (in more ways than one). The key is always finding the right combination (and it does tend to be a zeitgeist thing) to enact the eternal dance of attraction-conflict/sexual tension-false resolution-more conflict/sexual tension-final resolution. Many of the “old” tropes that gave the romance its conflict and sexual tension (nobleman/commoner, yankee/rebel, patriot/tory, rancher/farmer, settler/Indian) have been played out, so “new” ones have been introduced. Eventually, they too will get old and something else will replace them. I remember about 15-20 years ago, every other romance involved time travel. You don’t see so many of those anymore. At some point, even vampires and werewolves will give way to some other exploration of what-makes-the-world-go-round."
"I was rereading Patricia Briggs the other day and thought of it as a bit like paranormal romantic suspense. In contemporary romantic suspense there has to be a reason not to go to the police. But when you add monsters, weres or vampires, then of course the human police can’t help, and the hero gets to kick butt, instead of just picking up the phone to call the local cops."
"I seem to encounter a lot of wimpy men in the real world. Men who stand by, refusing to tell a woman they like her, waiting for her to make the first move. Then when she goes off with some guy who was brave enough to say “I think you’re attractive and I’d like to get to know you better” stand there and whine “Women only want a**holes!” Not realizing it’s not a matter of women liking jerks, it’s a matter of the woman liking a man with a backbone.
These same guys tell me it’s my lack of confidence, not my weight, that keeps me dateless. Yet can’t accept that their own lack of confidence also keeps them dateless. They equate being a wimp with being “a nice guy.” Plus their fear of rejection keeps them afraid. If they’d just man up and say “I like you” they’d have more dates.
Vampires don’t lack confidence. Even the most tortured one goes for the girl if he’s attracted to her."