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The Dual Process Model of Grief, in Plain English

Therapist-Reviewed

The best model of how grief actually works: you oscillate between facing the loss and getting on with life. What it explains that stage theories cannot.
The Dual Process Model of Grief — Conscious Cues
Table of Contents

The five stages were never a model of bereavement. This is the one that actually matches what grieving people report — and it is far more forgiving.

Where it came from

Margaret Stroebe and Henk Schut published the dual process model in Death Studies in 1999. They were responding to a problem: the dominant grief-work theories assumed that recovery required sustained confrontation with the loss, and that avoiding it was pathological. That did not match what bereaved people actually did, and it did not match the outcomes.

What people actually did was move back and forth. Some of the time they faced the loss directly. Some of the time they got on with things. Rather than treating the second as avoidance, Stroebe and Schut proposed that both were necessary and that the movement between them was the coping process itself.

Loss-orientation

This is the part everyone recognizes as grief. Thinking about the person. Crying. Going over the last conversation, the diagnosis, the phone call. Looking at photographs. Missing them. Yearning. Breaking down.

It also includes the difficult, less romantic material: the anger, the guilt, the ruminating on what should have been done differently.

Loss-orientation is not indulgence. It is the part of the process where the reality of the death gets absorbed rather than held at arm’s length.

Restoration-orientation

This is the half people misunderstand, usually because ‘restoration’ sounds like getting over it. It is not about the person at all. It is about everything the death has forced you to rebuild.

Attending to life changes. Doing new things. Taking on roles the person used to hold — the finances, the driving, the family organizing. Working out who you are without them. Managing the practical fallout. And, crucially, taking time off from grieving.

Stroebe and Schut were explicit that this includes distraction, and that distraction is not denial. The person watching a film and briefly not thinking about it is coping, not avoiding.

Why the oscillation is the point

The model’s real contribution is the movement itself. Grieving people swing between the two orientations, sometimes over weeks and sometimes over minutes — laughing at something and then, five minutes later, undone by it.

That flip-flopping feels to most people like instability, and they interpret it as evidence that they are not coping. The model says the opposite: the swinging is the mechanism. Full-time loss-orientation is unbearable and leads to burnout. Full-time restoration-orientation leaves the loss unprocessed and tends to collapse later.

There is no correct ratio, and it changes over time. Early on, most of the day is loss-oriented. Later, most of it is not, with occasional deep returns.

What is worth attention is a total absence of one side over a long period — weeks with no restoration at all, or months with no contact with the loss whatsoever.

What it changes in practice

It removes the audit. If both directions are legitimate, then a day spent working and laughing is not a betrayal, and a day spent crying is not a relapse. Most of the secondary suffering people carry in grief comes from grading themselves against a standard the evidence does not support.

It gives you something to notice rather than something to achieve. Asking ‘which way am I facing right now?’ a few times a day, with no judgment attached to the answer, is a genuinely useful practice — and people are usually surprised by how much more movement there is than they thought.

And it explains why grief has no finish line. There is no final stage in this model. What changes over years is not that you arrive somewhere but that the oscillation slows and widens, with longer stretches of restoration and less frequent, though not necessarily gentler, returns to the loss.

The Dual Process Model of Grief, in Plain English: frequently asked questions

What is the dual process model of grief?

A model published by Margaret Stroebe and Henk Schut in 1999 describing grieving as oscillation between two orientations: facing the loss, and facing the practical rebuilding of life. The movement between them is the coping process rather than a sign of instability.

What are loss-orientation and restoration-orientation?

Loss-orientation is direct engagement with the death — remembering, crying, yearning, ruminating. Restoration-orientation is dealing with everything the death has changed: new roles, new routines, new identity, and taking breaks from grieving.

Is the dual process model better than the five stages?

It fits the evidence considerably better. The five stages came from Kübler-Ross’s work with dying patients rather than bereaved people and were never intended as a sequence for the bereaved. The dual process model was developed specifically from bereavement research.

Is distraction avoidance in the dual process model?

No, and that is one of the model’s central claims. Time off from grieving is treated as a necessary part of coping rather than as denial. Full-time confrontation with a loss leads to burnout.

Is there a correct balance between the two orientations?

No fixed ratio, and it shifts over time — heavily loss-oriented early on, increasingly restoration-oriented later. What is worth noticing is the prolonged absence of one side altogether, in either direction.

Does the dual process model have an end point?

No. There is no final stage and no acceptance to arrive at. Over time the oscillation slows and the intervals widen, but the model does not describe a destination.

Related resources

Disclaimer: This content is for informational purposes only and is not a substitute for professional advice. If you’re experiencing emotional or mental health challenges, please consult a licensed healthcare provider.

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ABOUT SOFIA

I am an Intern Somatic Body Psychotherapist, Neuroscientist, Dancer, and Dance Teacher. My passion for mental health began at age 14, sparked by a natural ability to attune to people’s emotional landscapes.

Over the past 15 years, I’ve travelled the world exploring the human psyche — a journey that shaped my integrated approach, rooted in neuroscience (brain), psychology (mind), philosophy (spirit), and somatic practices like dance (body).

This embedded with my empirical experience has made it a personal and interpersonal discovery – in line with my essence and natural tendency to help those around me deal with various aspects of mental well-being.

It is this multidimensional understanding of what it means to be human that is at the heart of my work.

My work as a somatic body psychotherapist draws on the concept that life is a continuous unfolding process, from the first cell in the womb to the present moment. All aspects of our being need to be considered when navigating mental health issues.

I support each client’s unique process with openness and curiosity of all these aspects, helping transform scattered energy into a coherent source of well-being and vitality, reshaping life in ways that often exceed expectations.

Through my Neuroscience of Dance project and Dance Integrated Healing Method, I offer neurocognitive and movement-based tools for healing.

For the past six years, I’ve supported dancers and educators worldwide through sessions and workshops, focusing on injury recovery, neurological rehabilitation, memory and balance, mental health, and the therapeutic potential of dance. This integration of dance, neuroscience, and psychology began during my postgraduate research on the brain mechanisms behind dance, in collaboration with a leading researcher in the field.

My research has been published in Dance Data, Cognition, and Multimodal Communication and presented at the International Association for Dance Medicine & Science (IADMS) conference. I was honoured when this project was nominated for the IADMS Dance Educator Award (2022) and the Applied Dance Science Award (2021) from One Dance UK, which also recognised me as a Healthier Dancer Practitioner.

Personally, advocate for neurodiversity as a proud dyslexic. I love cats, cute cafes, cats, long walks, writing, cats, poetry.

Did I say cats?

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