That flat statement, followed by an explanation about how my infusing an otherwise “semi-intriguing world” with a “childish love story,” was the first bit of feedback I received in a particular writing group.
I dared to follow up with my own question: “Why not?”
The speaker was an older fellow who patterned himself after–at the very least appearing like–a literary great, complete with tweed jacket and artful arching of his thick grey eyebrow. All he lacked was the pipe, but he often tapped his chin as he stared at me through the computer screen. With a weary sigh, he rubbed his bald head and then stared at me as if I were the thickest person he had spoken to in a long while. “Romance is for women, epic fantasy is not.” He then referred to the notes he had sent me and read from the screen, “You have simply flipped, at best, the C plot for the A plot. No one will want to know about a cursed woman who realizes that she’s married to her greatest enemy due to an age-activated arranged marriage. Epic fantasy is about war. Battle strategies. Cunning maneuvers. A heroine who winds up married to a villain, no matter how charismatic he may be, simply isn’t interesting, no matter how many challenges she faces in reconciling her heart, her will, and her duty.”
I wish I could say I was surprised. This particular author, despite only having a couple books independently published himself (none of which were ranking especially high), insisted that my Tue-Rah Chronicles was doomed to failure unless I made it paranormal romance or urban fantasy, completely ignoring the many other elements that clashed with the preferences of those markets. “Those are more suitable for a woman with your… tastes.” (Yes, he did include those ellipses in the email he sent afterward.)
Sadly I’ve found that this attitude is fairly prevalent, though decreasing as time passes. Back when I started frequenting Yahoo Groups as a hopeful teenage writer, romance authors were mocked intensely within the fantasy communities. Stories focusing on “greater” issues did better in the critique groups (“greater issues” seeming to mean saving the world, fighting in vicious gritty battle, only engaging with others for sexual pleasure, and keeping love interests on hand only to kill off or provide increase in motivation). Any in-depth romantic relationships that existed within the pages were brutally critiqued in all caps that typically noted the story would be stronger if the romance was exorcised from the pages. There was one critiquer who regularly said that if such authors wanted to write romance, they should “get the f*ck out of epic fantasy.” It wasn’t a place for “soft writing” or “mushy topics.” The general belief seemed to be that romance readers were not intelligent enough to appreciate epic fantasy and fantasy readers were not patient enough to tolerate romance.
My own attempts were often met with harsh derision. Later, a mentor pointed out that the bigger issue was that I was a woman who wrote about “womanly issues” in a “male space” in an epic fantasy setting. That was not particularly acceptable within those groups.
The landscape of the genre, along with the writing world in general, has changed significantly in the past eighteen years. And overall, romance within epic fantasy is a little more accepted (not to mention it’s easier for me to find epic fantasy romance authors with amazing stories to read). But at least once a month, often more frequently, I have to explain why these epics can and perhaps even should have romance in them.
For some folks, it’s the shock of realizing that there is a subgenre out there that meets what they’re looking for (often deep worldbuilding with secondary worlds as well as complex characters and forefront romantic and personal relationships). For others, it’s an oddly aggressive reaction that suggests that somehow romance itself is an inferior focus and a genre for talentless women who want to write cheap and trite stories that don’t “mean” anything.
Sadly this general disdain of romance authors and readers is far from new (and far from gone). I have been removed from a few Facebook epic fantasy and secondary-fantasy groups because there was too much romance in my stories. In one case, I was told that there simply wasn’t room for “lesser fantasy stories.” In another, the owner of the group explained that, while he had not said “no romance as a dominant focus within the stories,” he felt it was best to keep it targeted to “serious epics” to improve his and others’ Also-Boughts.
But my argument then and now is the same: romance within fantasy epics can and should be included whenever the author desires. Let’s chat about the whys.
Readers Like It
This point is such an obvious one, but I want to make it anyway. Some readers love–no, adore–romance in their secondary-world epic fantasies. Even if that were limited only to women, that would be sufficient (especially since women make up the majority of active readers). Besides, women enjoying a genre does not make it inferior nor does it weaken the value in any respect. (Frankly the suggestion that romance as a top plot point in an epic makes it for women and also weakens the plot annoys me on so many levels I must be careful not to turn this into a rant.)
Fantasy epics are for everyone who enjoys reading a good epic. Everyone can certainly have their preferences, but one preference is not superior to the other. An epic without romance is not inherently stronger because of its lack of romance. And while we’re on the subject, romance is not an inferior genre nor are those stories less important simply for being romances.
The Epic Itself Does Not Require An Absence of Romance
In its simplest form, an epic is just a very large and long story often with world high stakes. It is typically broken into multiple books.
In the genre itself, epic fantasies frequently include larger-than-life characters with larger-than-life explorations of themes and challenges. The fate of the world or all mankind or even a kingdom often come into play. Battles and epic deeds of derring-do or dastardliness often make an appearance.
Now there are additional elements and factors that one can consider. But for brevity’s sake, I’ll assure you that “not having romance as a focus” is not one of them. Fantasy epic is more of a descriptor regarding length, stakes, and setup, and it lends itself naturally to the inclusion of romance.
(In fact, I would go so far as to say that fantasy has always had an element of romance to it, but that’s another conversation for another day.)
Romance and Love Are a Part of All Lives
We are all defined by our relationships. Even the lack of relationships makes a difference in the way we experience the world. Romance and love of all types from platonic to erotic are key to our existence.
I have never managed to escape any significant relationship without being altered in some way, and characters are much the same. A bright shiny-eyed idealist who has never had her heart broken or a powerful hardened warrior who is daring to hope that there may yet be some good in the world are both distinct in part because of the relationships that have entered their lives or haven’t. Even the way people walk can be impacted by their relationships as well as their health and demeanor.
A well-known example of this would be the transformation of Westley from Princess Bride. In the beginning, he is a longsuffering, self-possessed farm boy who discovers true love. He is something of an idealist. His return after becoming the Dread Pirate Roberts marks someone who is initially bitter and resentful, believing that his true love has betrayed him. But even during his time on the ship of the Dread Pirate Roberts, he persists and appeals for life, based on his love for Buttercup. And more than once, that love gives him the strength to keep going.
In Phantastes, Anodos’s lack of a romantic relationship and desperation for one drives him almost to madness and to making a critical error that actually deprives him of the happiness he seeks. In fact, both this and the loss of his shadow are two vital elements of his character development and journey.
Though not really a fantasy epic, Disney’s Mulan includes a song titled “A Girl Worth Fighting For,” which is all about how these men are risking their lives for these hypothetical women they deem worth fighting for and hope to one day meet. Objectification issues aside, the song encapsulates some of the older perspectives many held for epics, in that true love, romance, and peace are for after the adventure is completed, rather than being part of the adventure itself. Yet life itself is rarely so easily categorized.
We readers experience the story’s world through the characters, and we feel what they feel, which makes the journey so important. If it weren’t about experiencing those emotions, then we might as well read only history books. But good storytelling is far more than a recounting of facts or a statement of what makes things dangerous. It’s the journey that these characters take and who they become. Feelings are a huge component of making that journey matter to us as readers.
In Lord of the Rings, Eowyn fears being trapped in a cage and becoming useless, fears I not only shared but found extremely compelling, even from a young age. The heartbreak within her confession of love for Aragorn and her subsequent rebuffment, both as a love interest and as a warrior fit for battle, is made all the more potent because of what she feels and the fears that drive her. Her subsequent connection with Faramir is all the sweeter because of what she endured previously. And this is from Lord of the Rings, a fantasy epic often cited as proof that romance should not exist within a fantasy epic. The story of Eowyn and Faramir made the story much stronger as a whole and added to the richness of the narrative.
Romance within a fantasy epic adds more feelings and motivations to the incredible feast epic fantasy offers. Incorporating romance, especially from multiple perspectives and stages within the relationship journeys, simply adds to the host of possibilities of emotional engagements readers experience. Women are allowed to participate in this space, not simply as objects to be won or admired, but as fully developed characters with agency and journeys of their own.
Epic Fantasy Is About The Fullness of Life
One of my favorite parts of epic fantasy is getting to see the ordinary lives of people within this fictional world. Sure, the massive battles, political intrigues, and daring encounters are delightful. The monsters, whether they are original creations, familiar beasts, or the ever-incredible dragons, are also a plus. But what is the protagonist fighting for? Is it only for power and possession? It’s amazing how quickly a story falls flat when a protagonist is only interested in monetary gain or fame, with no other purpose besides desire.
But when a seemingly hard character turns out to have some sort of a soft spot–and that soft spot almost always equals love of some kind–oh how quickly readers become invested! Whether dealing with noblebright or grimdark, the relationships are vital for making the story and the stakes count. Relationships, the people the characters love, the ones they are willing to live and die for, can make it all worth experiencing.
A Song of Ice and Fire is well known for its many conflicts, and yet comparatively, it does not have quite as many battles as one might expect. In fact, a fair bit of time is spent setting out the different elements of characters’ lives. Tyrion’s loneliness and the tragedy of what happened to his first love are not only defining elements to his character but a reason many readers hope he will find some happily ever after. Sansa might seem silly to some, but her desire to be loved, valued, and protected are understandable. And the nature of some romantic relationships form the core of certain conflicts within the epic itself. (But I’ll avoid spoilers here.) Watching these characters explore, experience, and even lose out on chances to find those individuals that understand, cherish, and accept them for who they are can be fulfilling, agonizing, and completely worth the effort.
A good epic should include the fullness of life to create fully developed characters from a variety of backgrounds. This inevitably includes love, and given that the romantic relationships within our own lives can be some of the most definitive and often form the core of the lives we create for ourselves, why should they be any less important to the characters we read about? Not everyone has to have a happy ending, of course. That’s never been the way of things. But the relationships will always be an element of that character’s life in some way or another.
So What Changes When Romance Is a More Dominant Element?
Often the greatest addition that comes about through making romance a larger issue or the A plot rather than the C plot, if you will, is that the protagonist’s success does not simply mean that he receives his love as a reward. (A common trope, especially in older fantasies and military and adventure stories as a whole, is that of the adventurer returning home, retiring and seeking comfort, understanding, and relaxation in the arms of a kind, understanding woman. She is likely to be killed off in the event of a sequel or spinoff.) Instead, the resolution or development of the romance as a whole becomes an important component to the story, and oftentimes the typical love interest may even be the protagonist and have her own say and agency in things rather than only being an item to be won.
Including more romance within an epic does not make the epic less serious by any means. It doesn’t mean that the entire story will be filled with passionate serenades or petty arguments or lopsided love triangles even if those elements may in fact appear. A stronger focus on romance does not spread cooties or some other virulent pox to be avoided. All a stronger focus on romance does is add additional elements to explore.
A fantasy epic that includes a dominant romance plot does not have to lose any of the things that make fantasy epics great. There can be just as many dragons, monsters, quests, banters, traps, ordeals, and trials as with any other. It’s just that some of the characters may feel a little more passionately about one another. There may not be as many passive persons waiting to be wooed or saved. And there may be many more stages of the relationship explored, ranging from the first meeting to the rekindling of the flame to the loss of a beloved to the ones who never missed a step and fought back to back with one another on the battlefield and through numerous adventures.
Fantasy epics with a focus on romance or that have strong romantic themes throughout them tell stories that matter. They’re about characters who feel much the way that we do and who experience great adventures and face tremendous trials, whether because of, in pursuit of, or in spite of the ones they love. Maybe these fantasy epics do feature a protagonist or two at one point trapped in a tower, hoping to be reunited with someone she loves. But in a well-told epic, all the protagonists will have their own agency, meaning that this woman too will have her own feelings and her journey will matter just as much whether she picks up a sword to jump into the fray or discovers other means for growing as a character and a person.
So why does romance belong in epic fantasy? I suppose I’ll just rephrase my first question: Why wouldn’t romance belong in epic fantasy?
How do you think romance enhances an epic fantasy story? What was your last epic fantasy read with romance, and what did you think about it? Share in the comments!
About the Author
J.M. Butler is an adventurer, author, and attorney who never outgrew her love for telling stories or playing in imaginary worlds. She is the author of The Tue-Rah Chronicles, which includes Identity Revealed and Enemy Known. Independent novellas set in the same world include Locked, Alone, and Cursed. She has also written a number of other stories including Mermaid Bride, Through the Paintings Dimly, and more. She writes primarily speculative fiction with a focus on multicultural high fantasy and suspenseful adventures with intriguing romances. And on top of that, she lives with her husband and law partner, James Fry, in rural Indiana where they enjoy creating fun memories, challenging each other, and playing with their three cats.
Reach her at:
- Website: www.jmbutlerauthor.com
- Facebook: https://www.facebook.com/jmbutler1728
- Twitter: https://twitter.com/jessicabfry
- Amazon: https://www.amazon.com/J.M.-Butler/e/B01CESKFMS/w
J.M.’s romantic epic fantasy series The Tue-Rah Chronicles begins with Identity Revealed:
What if you prepared for the wrong destiny?
Cursed by her devious mother, Amelia, a young mindreader is driven by a deadly destiny. Only she can defeat Naatos, the shapeshifting warlord, in his march of terror across the thirty-six worlds. But Naatos conquers her home in a murderous midnight ambush before she has even learned how to throw a knife. She flees to Earth where she dedicates her life to training, fearing the curse will make her a monster if she does not succeed in defeating Naatos.
Naatos understands that with choice comes tragedy. He seeks to gather the worlds beneath his rule, righting the errors of previous monarchs and eliminating the complications of ignorant inhabitants. His only weakness is a young mindreader, the last living Neyeb. She doesn’t know who she really is, let alone what she will become, allowing him to twist both her destiny and curse to his advantage.
When Amelia finally returns to her home, the land of the bruin riders, she discovers her family captured, the royal court slaughtered, and her people imprisoned. She launches a rescue only to discover Naatos’s savagery and abilities exceed all reports. Even worse, the truth behind the curse and her identity eviscerates her resolve, forcing her to question everything from her beliefs to her priorities to her character.
Outmatched and outflanked, Amelia must defend her nation and take control of her true destiny or condemn the worlds to Naatos’s rule and millions to death.
Get it here.