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Romantic literary movements developed in Europe concurrent. The roman noir appeared in France, by such writers as François Guillaume Ducray-Duminil, Baculard d'Arnaud and Madame de Genlis. In Germany, the Schauerroman gained traction with writers as Friedrich Schiller, with books like The Ghost-Seer , and Christian Heinrich Spiess, with novels like Das Petermännchen . These works were often more dreadful and violent than the English Gothic novel.

German gothic fiction is usually described by the expression Schauerroman . However, genres of Gespensterroman/Geisterroman , Räuberroman , and Ritterroman also regularly share topics and plot with the British 'gothic novel'. As its name suggests, the Räuberroman focuses on the life and deeds of outlaws, influenced by Friedrich von Schiller's play The Robbers . Heinrich Zschokke's Abällino, der grosse Bandit was translated into English by M.G. Lewis as The Bravo of Venice at The Ritterroman focuses on the life and deeds of the knights and soldiers, but features many components found in the gothic novel, such as magic, secret tribunals, and setting. Benedikte Naubert's book Hermann of Unna is seen as being very close to the Schauerroman genre.

Contemporary American writers in this tradition include Joyce Carol Oates, in such books as Bellefleur and A Bloodsmoor Romance and short story collections like Night-Side and Raymond Kennedy in his novel Lulu Incognito.

While the expression Schauerroman is sometimes equated with the term 'Gothic novel', this is only partially correct. Both genres are based on the terrifying side of the Middle Ages, and the two often feature the same components . However, Schauerroman elements are necromancy and secret societies and it's remarkably more cynical than the British Gothic novel. These elements are the foundation for Friedrich von Schiller's unfinished novel The Ghost-Seer . The motive of secret societies is also within the Karl Grosse's Horrid Mysteries and Christian August Vulpius's Rinaldo Rinaldini, the Robber Captain .

Matthew Lewis' lurid tale of monastic debauchery, black magic and diabolism entitled The Monk provided the first continental novel to follow the conventions of the Gothic novel. Self-parody had been a part of the Gothic from the time of the genre's beginning with Walpole's Otranto though Lewis's novel could be read as a pastiche of this genre. Lewis's portrayal of depraved monks, sadistic inquisitors and spectral nuns--and his scurrilous perspective of the Catholic Church--appalled some readers, but The Monk was important in the genre's development.

Educators in literary, cultural, and architectural studies appreciate the Gothic as an area which facilitates the investigation of the beginnings of scientific certainty. As Carol Senf has stated, 'the Gothic was a counterbalance produced by authors and thinkers who felt restricted by such a positive worldview and recognized the power of yesteryear, the irrational, and the violent continue to hold sway in the world.'

The most famous Gothic villain ever, Count Dracula, was created by Bram Stoker in his novel Dracula . Stoker's book also launched Transylvania and Eastern Europe as the locus classicus of the Gothic.Gaston Leroux's serialized novel The Phantom of the Opera is another well-known case of gothic fiction in the early 20th century.

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