BESTSELLERS 101: Or how NOT to write a fantasy novel!!!!!!!
by
R.F. Gammon
- August 23, 2019
(credit to my dear friend Nicole Dust for giving me the idea to write this post!!!!)
We all want to write good fantasy books. We all want to write something that sells. But sometimes, things get a little TOO tropey. I'm not talking about the infamous vampire stories, dystopian love triangles, or angsty drama that defined the aughties. Nope, I'm talking about the books of 2018-2019, the fantasy novels hitting our shelves right now and topping the NYT bestseller list and getting talked about.






We all want to write good fantasy books. We all want to write something that sells. But sometimes, things get a little TOO tropey. I'm not talking about the infamous vampire stories, dystopian love triangles, or angsty drama that defined the aughties. Nope, I'm talking about the books of 2018-2019, the fantasy novels hitting our shelves right now and topping the NYT bestseller list and getting talked about.
And the fact that they're all the same.








Let's talk YA, guys. And some of the tropes so prevalent in these modern releases--and how to do them better.
TROPE 1: PICKING AN EXOTIC SETTING FOR YOUR BOOK
Wicked Saints: Russia
Girls of Paper and Fire: sorta Asian
We Hunt the Flame: Kinda Middle East
Children of Blood and Bone: Nigeria
Look, there is absolutely no problem with setting your book somewhere non-European. Goodness knows we have a lot of those books. I don't have a problem with setting your book in medieval European-esque world either (that's more similar to mine, gosh) but the MANNER of doing it is what we need to talk about.
Throwing in a few words from either the real language of the region or the fictional language you based on the real language doesn't count as worldbuilding.
Making your characters non-white just for the sake of not being white doesn't count as worldbuilding, much though I know we all wish it did.
Having vaguely Asian sounding food doesn't count as worldbuilding.
Making character's names unpronounceable for the sake of "authenticity" doesn't count as worldbuilding.
If you're going to base your book's culture off a real place, be it Europe or somewhere else, do research. Make it genuinely important. Slip in aspects of the culture that people might not know about. The food, the fabric, the customs, the day-to-day life, the marriage ceremonies, the evening activities, the holidays, the courtship, the rituals, the RELIGIONS, the cursing, the dialect--ALL of it. Give me a world that feels so real I could imagine going there. Don't just put in a couple of things that make it feel DIFFERENT but in a weird way.
No matter what sort of world you have, let me go into it deeply.
TROPE 2: THE EVIL FATHER AND ANGSTY MURDER SON
We all know this one like the back of our hands, right? The villain of the book is the king who rules his country with an iron fist, sitting on a throne he usurped from the true ruler. The ruler was probably a magic user, and the king hates magic for some undisclosed reason. He tortures his people for no reason whatsoever--because who wants to read about politics, right?!--and has an evil second-in-command who does his bidding. (This person will probably die at some point in the first book, just FYI.)
Most importantly, though, he has a son. A son who he has groomed to submit to his every will, especially killing people. But that's okay, because we all know the son has a CONSCIENCE. Which becomes very important when he meets the snarky female protagonist and falls for her beauty...
I have to be careful around this trope and making fun of it tooooo heavily, because I actually have my own version of this in my novel (heh). But I think there are a few things that we need to observe here in our writing, and the main one is this:
GIVE THE VILLAIN A REASON.
He can be the evil murder king--I have no problem with that! One of my favorite villains ever is Capricorn from the Inkheart series. And oh my word, he is such a deliciously evil murder king. He kills people for fun. He has a mother he cares about--who's just as evil as he is, if not more. He does things just for the heck of it and laughs while he kills people. YA KNOW WHAT? I LOVE IT. He doesn't need a reason. But that's okay--because he is never, ever presented as human in any way.
If someone is a father--even if they're the worst father ever--they have to be at least a little bit human.
Give them a backstory. The king almost always has had magic eradicated--if that's the case, WHY? He hates women--WHY? He's cruel to his son--WHY? What does he have against the protagonist? Her family? Her people? Straight-up racism and sexism do not work, folks. You have to give them something personal. No one is just systematically anything. There is ALWAYS a reason.
Don't caricature your villains. Make them human.
And then in terms of the sons: Making someone good and morally grey takes WORK, people. A lot of work. I wrote my entire first book revolving around the arc of a morally grey villain boy. It can be done. BUT, please, I beg you, do not redeem your villain boy by having him fall in love with your protagonist. (I'll get to that next.) Love doesn't change people like that. At least not that kind of love. Put work into it. Put your back into it.
Give him a real, human, lasting, good reason. Basically, that's my point here: Don't just take the cheap, normal way out. Don't just have your villain hate magic because he does. Don't just give him an angsty son. (Also, remember this: if you're writing a guy like this, he is going to be cruel to his son. And that is abuse. So you're going to have to deal with psychological repercussions on that front. Don't discount that aspect. It can be a lot to add--even if the father isn't on the scene at the moment, the boy can't just act like a normal human. He's gonna be messed up, folks. He's gonna be broken. FIGURE THAT IN. Emotional abuse is a horrible and real thing.)
That was a really, really long rant xD But basically: You CAN do this well. But don't do it the way it's normally done. Don't take the cheap way out. Turn it on its head. GIVE REASONS AND MOTIVATION.
TROPE 3: THE BAD BOY AND THE SASSY (GOOD) GIRL
The heroine of your story is a too-big-for-her-britches little Miss who is the Chosen One (TM) who has to save her (ambiguously defined, mostly irrelevant to the story) land/people/tribe/race/ whatever. She probably has a sibling who she LoVeS mOrE tHaN aNyThInG eLsE. One of her parents died tragically. She's snarky and a Powerful Magic Wielder (whether she knows it or not) and she will probably go to head to head with authority and walk away with her best friend or sibling or somebody DEAD because of her impertinence.
And in the course of her quest, she'll find a different sort of magic--the magic of LOVE!!!!!!!
Are you rolling your eyes yet?
Don't start yet--we haven't talked about the object of her affections! She'll meet the horribly mean but devastatingly handsome son of the villain, who will probably fall in love with her at first sight. She's a bit stronger than he is and so she lasts a whole day hating him before, suddenly, she's caving and they're making out passionately in the middle of a dangerous situation. And then--he'll betray her. But then be forgiven. BUT THEN BETRAY HER AGAIN. DUN DUN DUN, the book ends! Cliffhangers! Stay tuned for the next installment!!!!!!!!!
*groans loudly* Please tell me I'm not the only person rolling my eyes right now.
Please, please, please don't force your bad boy and good girl to fall in love.
It's more powerful when they don't! I'm just gonna come right out and say it! And if they have to, if they're going to, make it a slow burn. You've got a trilogy--you don't have to let them start kissing and declaring their undying love on page 275 of the first book. Because we all know what that means--the dreaded angst and sobbing of the second book, complete with the crucial fake breakup and all that jazz. No one wants that. That was over back in 2007 (was that when New Moon came out? Maybe? We'll just say it was xD)
Let them become friends first. No one seems to understand how rare that is. Nobody actually likes or ships insta-love. Your girl and boy can LIKE each other without LIKING each other, if you know what I mean. They can get to know each other. They can spend time together. They can talk (gasp what is this travesty). They can hug each other and fight for each other and grow closer and become extremely important to each other--because that's how real life relationships, the healthy sort, work.
You don't even have to have one single kiss in book one.
Obviously if you're writing a standalone things work differently--but in standalones your timeline is different. You can even just hint at the romance and leave the ending open. It'll drive your readers crazy but it WORKS. xD
Like everything else, make the romance real. It helps, I promise.
TROPE 4: WHERE ARE YOU, MAGIC?
Once, there was a land full of good, perfect, beautiful magic users. But then--the wicked king came and eradicated it. And it's gone. And we must go on a quest to find it and return it through some cryptic ceremony where it's revealed that our main girl is the only surviving magic user.
I have one thing to say about this, basically: Please stop.
If you're gonna have magic (which at this point, is not just a given) then please don't do this. No quests for magic. No people groups that will die without it. Just stop this. Please. I beg thee. I can't tell you how to flip this one--just STOP *sobs*
If you can't do magic creatively, then consider not putting it in your book. DO YOU NEED IT? Will your story die without it?
Decide that and then figure out how to use it. And if you're gonna use it, for Pete's sake, let it be clearly defined. This is obviously something you're gonna have to work out in edits--I'm still not happy with the explanations of my book's magic system--but you can do it! Make sure all the rules are clear. Make sure they're in English (please. I beg thee. I don't care if you understand your fictional language--I do not. You have to explain the system to me in a way I understand, not through your fake fantasy language. PLEASE PLEASE PLEASE.)
TROPE 5: I SWITCHED POVs AND THAT MADE A CLIFFHANGER!!!
Dual POVs are cool if you do them right, but I would recommend, at this point, either have lots of POVs or have one. Obviously you need to make sure they're all necessary.
But the biggest thing I want to say is this: switching POVs to the villain's POV to give us a piece of information we already knew or to do something angsty from a side characters POV or something like that doesn't create a cliffhanger, darlin'.
Cliffhangers are hard to pull off. You can do it by switching to your villain's POV--but ONLY if that leads into the next book with an actual plot line. It's tough. But it's doable.
My dear readers, I know you're great writers, and I have more faith in your stories than I do in the current bestsellers, if I'm being quite honest. You can write amazing books. Much of this was a roast/rant, but I know for a fact that y'all can do better than this and I just needed to get this off my chest xD
Write the story of your heart. Write it REAL.
Make it beautiful.














