The American Roommate Experiment

The American Roommate Experiment is a contemporary romance novel, a subgenre that indicates that its events take place in roughly the same world and time period in which it was written. This is in contrast to historical romance, which takes place in a defined period of the past, or paranormal romances and romantic fantasy, which may take place in alternate universes or timelines. The romance genre has two essential requirements: First, it must focus on a romantic relationship, and second, the story must culminate in a happy ending.

Elena Armas sets up a story in which Rosie, as a romance writer, is especially aware of the genre and its conventions. She further lampshades this by having Rosie’s own second book feature the best friend of her first lead character—the exact relationship between Rosie and her best friend, Lina, in Armas’s novels. Rosie’s breakdown of her “experimental dates” with Lucas coincides with the structure of many romance novels, as Lucas himself notes during their awkward first meeting: “[W]e have the meet-cute in the bag” (140). The pair’s sharing of Lina’s apartment allows for regular interaction between them, a romance trope known as forced proximity. Jessica Avery of BookRiot notes that this trope removes characters from their “known world”—which Rosie herself seems aware of when she grieves the idea of returning to her own apartment (“Romance Tropetonite: Forced Proximity.” Book Riot, 27 Dec. 2018). On their third date, Rosie and Lucas attend a masquerade ball together. Though this plot device is far more common in historical romances, where characters may or may not know the identities of their masked dance partners, Rosie and Lucas attend a modern costume party that clearly draws inspiration from historical romance. The pair learn more about each other while dancing, in the sense that their attraction becomes difficult to deny. Armas’s inclusion of a ball alerts romance readers to her familiarity with the genre, while introducing new readers to the trope.

Rosie’s mention of the “grand gesture” that resolves a couple’s argument or misunderstanding alludes to another common, though not required, trope of the romance genre. This trope is often known as “the third-act breakup”—as it often occurs late in a novel as a final source of tension. Author KJ Charles points out that “Act 3 tests [a couple] to see if [they have] developed the internal strength and structure to stand up and emerge triumphant,” though this conflict can vary in nature and structure (“Bread and Roses: Developing Romance and the Third Act Test.” KJ Charles, 23 July 2020). For example, Lucas’s grand gesture on a rooftop resolves some romantic tension, as he and Rosie kiss, but the question of their future remains unresolved. In the novel’s actual third act, Rosie rushes to the airport to declare her love, another trope. However, her grand gesture is thwarted, as Lucas does not respond to her offer; the trope is subverted, ending in a third-act breakup rather than a reunion. The novel’s final grand gesture belongs to Lucas, who makes a surprise appearance at a New Year’s Eve party—finally ready to fully reciprocate Rosie’s love. This trope, too, is likely an homage to romantic comedies such as the classic film When Harry Met Sally. Armas uses the Epilogue to demonstrate that Lucas kept his promise both to work on himself and return to Rosie for good. In having Rosie’s own book bring its couple back together, and in staying true to romance tropes, Armas makes the novel itself a love letter to the genre.