1. 1.The Boyfriend School is a novel about a budding photojournalist who decides to dabble in romance novels. Do you think this novel stays in the genre of straight fiction, or does it slip into the romance genre? Is it, as Andrea Bronstein discusses, an example of the out-of-category category in romance novels?

2.What makes a romance novel different from a regular fiction? More specifically, what is the difference between a romance novel and a novel where a love story is the major thematic focus? A difference in writing style? Characters? Is there any substantial difference?

3.The main character in The Boyfriend School starts the story as an aspiring photojournalist. Is Gretchen’s segue into life as a romance novelist believable? Is there a voyeuristic aspect to her character, and also to the characters of Juanita and Lizzie?

4.Trout and The Wisp describe Gretchen’s two boyfriends in the novel. Do you think these nicknames are character-appropriate? If so, why? After finishing the story, do you think Gretchen will continue to refer to Gus as The Wisp?

5.How would you describe Gretchen at the beginning of the novel? Is she hopelessly masochistic and neurotic? Or is she a character with whom you feel you can relate? Did you ever go through a period in your life similar to Gretchen’s? What helped you through it?

6.Gretchen muses at one point, “If I’d started doing the smart thing, the very fabric from which my already frayed lifestyle was woven would have commenced unraveling. I wasn’t yet prepared for that.” (14) Why do you think Gretchen perpetuates this rather willful irresponsibility? Do you think this is resolved by the end of the novel? If so, why?

7.Juanita and Lizzie are not your stereotypical romance novelists (think Andrea Bronstein). Does Gretchen strike you as a particularly feminine heroine? Her own love life follows the “mechanistic” rather than “ethereal” paradigm of love in the beginning of the novel… what does this say about her femininity?

8.Lizzie believes that romance novels saved her from the “musty halls of the academe.” Do you think Lizzie’s life is truly romantic? Or, given Gus’ revelations about her relationship with Mitchell, does she participate in perpetual self-deception? Are romance and intellect mutually exclusive?

9.Do you think romance novelists are in touch with real female desire? Do women really desire this type of romance? Where do you think the author stands on this question?

10.Lizzie asks “Is it coincidental that the most denigrated literary form on earth is one created and enjoyed nearly exclusively by women?” She then observes that women (feminists) are also the most virulent critics of romance novels. Do you agree with Lizzie’s observations?

11.What did you think when Bird first introduces us to Gus? Do you think Gretchen was right to reject him? Is physical attraction a necessary condition for any budding romance?

12.Gretchen coins the term “Pushmepullyou.” What do you think of this euphemism for playing hard-to-get? Do women really love men who are hard to get? Is the reverse true as well? Do you think these games are conducive to finding a good boy/girlfriend? How does this apply to the Gus/Rye situation?

13.Gus proclaims that, immediately after setting his eyes on Gretchen, he fell in love. What do you think about the idea of love at first sight?

14.Of romance novelists Gretchen observes, “The women at the Luvboree reminded me of that earlier time, a time before sisterhood became earnest, self-conscious. Before it stopped being just a lot of fun.” The women at the Luvboree–as well as numerous other instances in the book–become closer to one another through their love of romance novels. What do you think about romance novels as a means of feminine solidarity? And how does this compare to other means of feminine solidarity, perhaps, say, the feminist political movements of the 1980s?

15.Given Lizzie’s highly luxurious suite at the Luvboree and Andrea-Bronstein’s “Cameo”- plated periwinkle Mercedes, discuss the relationship between romance writing and profit. How does this impact the integrity of the genre?

16.At what moment is Gretchen transformation from photojournalist to romance novelist complete?

17.Juanita chides Gretchen’s first attempt at writing romance by stating “you have to remember the fundamental impulses the genre springs from.”(125). Discuss these fundamental impulses. Do you agree with Juanita?

18.Sarah Bird’s writing style incorporates humorous anecdotes and metaphors, dry sarcasm, and also tidbits of historical trivia. What do you think of this style? How does it enhance your appreciation of the story?

19.Juanita, Lizzie and Gretchen constitute the Boyfriend School for which the novel is titled. In what ways is the Boyfriend School effective? In what ways is it disappointing?

20.Did you like Rye St. John when you met him? What did you think of his “rogue”-ness? What was believable about his romance with Gretchen? What was implausible about it?

21.Gretchen observes “It seemed that, at the deepest level, Lizzie believed in what she wrote.” (181) Do you think Lizzie really believes this brand of romance? Do you believe in it? Do you think the genre provides a harmless escape for women, or are these unrealistic fantasies a disservice to women?

22.The Boyfriend School manipulates Gretchen’s own love fantasies in setting her up with Rye. Have you ever had a match-maker friend go so over-the-top to set you up with someone?

23.Gretchen ends up forgiving Lizzie, Juanita and Gus for their shameful con game. Would you have done the same? Do you think Gus was justified in his anger towards Gretchen?

24.What do you think motivated Bird to write The Boyfriend School? What do you think is her take on the relationship between romantic escape, female desire, and true love?