Thursday briefing: Why magical kingdoms feel more relatable than real‑world romance for today’s young women
Good morning. It was a hare or maybe a small deer that prompted my own excursion into romantasy fiction. Stuck on the train home from London to Glasgow, delayed by animals on the track, I was in need of some diversion and found it aplenty in Sarah A Parker’s bestseller When the Moon Hatched, the tale of a female assassin whose fate intertwines – yes, sometimes quite spicily – with a grieving dragon rider. Romantasy – a portmanteau of fantasy and romance – has become a commercial publishing phenomenon, the genre now dominating mainstream bestseller charts and powered by female authors and readers, the latter mainly under the age of 35. Fresh from her visit to the opening of Britain’s first bricks-and-mortar romantasy bookshop, I spoke to our books writer Emma Loffhagan about what she overheard when browsing the shelves, and what the success of this fictional genre tells us about the realities of young women’s dating lives. Before that, the headlines. Five big stories UK politics | Nigel Farage told senior figures in Reform UK he would need “a million a year” to cover lost earnings if he stood for parliament in the 2024 general election, sources have told the Guardian. Middle East | The US has fired on an oil tanker attempting to reach Kharg Island in the strait of Hormuz as part of its blockade on Iranian ports, as Tehran came under attack for the first time in this latest round of strikes. UK politics | Keir Starmer has defended his record as prime minister in an often emotional final outing at prime minister’s questions, which largely avoided political jibes in favour of tributes and questions. US news | Extreme heat warnings are in place for large swaths of the United States this week, as an unusual weather pattern eclipses record temperature highs. Ukraine | Volodymyr Zelenskyy has dismissed Ukraine’s popular defence minister, despite pleas from foreign partners and civil society for him to keep his job, as part of wide-ranging government reshuffle. In depth: ‘The escapism is a really big element’
While queueing to enter Bad Girl Books, which opened in Oxford earlier this month, Emma met women clutching totes emblazoned with subgenre slogans like “hot girls read smut” and swapping recommendations of their favourite fantasy world. For the sake of demographic accuracy, she counted two men in the 100-strong line, “both waiting patiently with their girlfriends”. While it’s uncertain where the term romantasy first originated, what is beyond doubt is that these layered tales of magical kingdoms, filled with dragons, fairies and ardent lovers, have blown up over the past three years. Sarah J Maas, for example, creator of the epic fairy romance series A Court of Thorns and Roses (or ACOTOR, should you require the BookTok hashtag), has sold more than 75m copies worldwide. And Rebecca Yarros, who wrote Onyx Storm, based around a training school for dragon riders, recorded the biggest UK opening week for a hardback fiction title in a decade. Within these fantastical worlds, romantic plotlines flourish, with a whole vocabulary developed in online fan communities to articulate their every nuance: analysing scenarios like enemies-to-lovers, soul mates or love triangles or “morally grey” heroes. Emma and I are speaking after author Wendy Jones caused an Instagram squall when she observed this week’s paperback bestseller charts are dominated – not for the first time – by stories that centre murdered women. “Perhaps the rise of romantasy shows that if there is another framing for women to read about themselves in a book, they’ll take it. But maybe crime fiction’s enduring appeal to women readers also shows they enjoy reading about resolutions they don’t get in real life from the criminal justice system.” *** A boost for publishing While romantasy communites have flourished on Instagram and Reddit, BookTok – the section of TikTok dedicated to book content – has provided the fuel for the genre’s explosion. “If you use the hashtag for a famous romantasy series,” says Emma, “you’ll find billions of views and fans ranking their favourite books and sharing theories.” When Emma was reporting for the Guardian from this year’s Hay festival, she listened to a TikTok representative describing how BookTok is the biggest community on the platform. TikTok in particular gets a very bad rep when it comes to attention spans, but there is a really thriving community on the platform that not only talks about romantasy, but all kinds of books.” This is evident at the cash register: in 2024, the UK’s publishing industry hit £1bn in revenue for the first time in years, a boost that can’t be uncoupled from the genre’s astonishing sales. Sales of science fiction and fantasy books rocketed last year, driven by romatasy’s popularity, with their value increasing by 41.3% between 2023 and 2024. And it’s welcome on the sofa, especially with reading enjoyment among children and young people in Britain falling to its lowest level in two decades, with the decline particularly pronounced in teenage boys. “Even if these are not the most literary novels of all time, it’s still reading,” says Emma. “It’s still not looking at a screen”. *** What appeals to younger women “What comes up a lot when you talk to women about what they like about romantasy,” says Emma, “is that the male characters are written in the female gaze. Most romantasy authors are women, and the romance storylines are very female centred. They flip expectations, and there’s often a lesbian love story as well.” Even in this post-Fifty Shades publishing landscape, I’ve heard a bunch of women discussing with pre-emptive apology their taste for “fairy porn”. I’m curious whether this is a response to literary snobbery about (younger) women’s reading choices. “Most people brought that stigma up without prompting ,” says Emma, of her Oxford visit – and they were keen to dispel it. “A lot of these books do have an element of spice – what they call sex – but many say the reason they were attracted to the genre was for the storylines, the friendships and the world building”. It also gives women an access point to fantasy, a traditionally male-heavy genre, both in authorship and fandom, while offering a playfully feminist upgrade to standard romance tropes. In my train reading, for example, an early spicy encounter was halted mid-throb because the hero wanted more emotional connection. I also wonder if younger women are devouring romantasy because it reflects something they don’t see in other genres. The last 20-something character I read in literary fiction was Joey in Jem Calder’s novel I Want You to Be Happy. She spent much of the novel miserably parsing text messages from her emotionally unavailable older lover in the cramped bedroom of her messy house-share. “The escapism is a really big element,” says Emma. “The storylines can feel a bit utopic – women are the heroes, they are slaying dragons – while also having these amazing love stories. It doesn’t feel like it can be achieved in the real world: young women being able to have it all.” *** Heteropessimism goes mainstream So the romantasy boom is happening at a moment when young women in particular feel disillusioned with modern heterosexual romance. Extremely online concepts like heteropessimism (noun: despair/disappointment at being attracted to the opposite sex) are now mainstream. The viral Vogue essay by Chanté Joseph titled Is Having a Boyfriend Embarrassing Now? prompted extensive debate about young women’s aspirations reaching beyond the heterosexual imperative of male validation. Meanwhile, day to day experiences and substantial survey data suggest an ideological gender gap, with young British women more likely to describe themselves as left wing than their male counterparts of similar age – who are nearly twice as likely to vote for Reform UK. “Men and women are diverging politically and socially,” says Emma. “If you are a young woman today and you see that young men are less progressive than they were 30 years ago, it’s really isolating.” Emma is 26. “It’s understandable that women want to date someone who shares their values, and the pessimism is something I definitely see in my age group among friends who date men.” There’s also a growing awareness of the ways that ubiquitous dating apps are infiltrating offline engagement.“There’s this online place where you meet people, so when you go out to a bar or a club, you’re not in that headspace. And if you do approach someone it’s seen as abnormal because ‘why are you doing that when you have a dating app?’” And that’s prompting a gradual pivot to algorithm-free connections: the current trend for in-person singles events gives her cause for optimism. “It’s also hopeful that we’re acknowledging that something feels broken in dating and gender relations, and those discussions are partly prompted by the popularity of romantasy itself.” For more from Emma and the Guardian books team, sign up here to get Bookmarks delivered into to your inbox every Sunday What else we’ve been enjoying
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The Upside A bit of good news to remind you that the world’s not all bad
In the money-dominated, digital music industry, a new generation of zine-makers are finding ways to rebel. From hip-hop to indie pop and glamrock, a wave of devoted fans are reviving the old-school fanzine. Five decades on from their punk beginnings, this alternative medium that celebrates creativity for its own sake, not an exec’s bottom line, lives on. The old guard are just as inspired, with zine-makers from the 1990s renewing their enthusiasm for the art. As hip-hop musician and zine-r ExP puts it: “You’re almost definitely going to spend more time looking at a zine than anything you see scrolling … It’s the long way round, but the scenery is always better.” Sign up here for a weekly roundup of The Upside, sent to you every Sunday Bored at work? And finally, the Guardian’s puzzles are here to keep you entertained throughout the day. Until tomorrow. Martin Belam’s Thursday news quiz Quick crossword Cryptic crossword Wordiply