Romance. I don’t think
there’s much that I can say about it that hasn’t been said already.
Stories, poems, blogs and
books about romance are hardly in short supply. Anything you want to know about
the subject (and much that you don’t), somebody has already written about
somewhere. So, you might ask, why am I writing ANOTHER blog post about romance?
Well, the answer to that
question is that I’m not. In fact, I’m writing something that’s the exact
opposite.
Heh. I suppose that’s not
entirely true either. I have nothing against romance in the real world. Not
that I have any experience in it to present you with an informed opinion.
Today, we’re talking about
fictional romance. About the ubiquity, the nigh omnipresence of romance in
popular fiction.
Well, I suppose movies are
more guilty of this than novels, but only marginally.
Romance – It’s EVERYWHERE!!
Let’s get something out of
the way from the get-go. I’m not against a well written romantic novel, or a
funny and engaging rom-com for that matter. That’s not what I’m talking about.
I’m talking about the fact
that creators seem to feel the need to shoehorn in random bits of romantic
subplot into stories that otherwise have absolutely nothing to do with romance.
I mean you could simply
remove the romance – rip it clean out of the narrative – and nothing would
change. It wouldn’t impact the story in any way whatsoever. Want an example?
Angels and Demons by Dan Brown. Many hard-boiled crime/detective fiction has
this problem of undeveloped and unnecessary romantic subplots being shoehorned
in, so it’s not like I’m picking on Dan Brown here.
Angels and Demons is just the
most recent novel I’ve read where I encountered this problem. Another one that
comes to mind is The Lies of Locke Lamora by Scott Lynch. Why did Locke need to be obsessed
with some random woman who never makes an appearance on the page and has no
role to play in the story? Who knows? It’s not as if we could have a hero
without a love interest (horror of horrors)!
Theft of Swords by Michael J. Sullivan was probably my favorite book of 2018, and even
that suffered from this shoehorning problem. Royce – one of the two
protagonists – has a girlfriend who is also a badass prostitute and is
mentioned all of five times in the first two books. Why did she need to exist?
Well, I’m still waiting to find out.
It’s not even that I dislike
romantic subplots. In fact, they can be very well done in some stories. Think
Peter and El’s relationship in White Collar and compare it to the non-existent
chemistry between Aragorn and Arwen in the Lord of the Rings movies. Sigh.
So why do creators – be they
novelists or showrunners or moviemakers – feel the need to insert incongruent
romantic subplots into their stories, regardless of whether or not it makes any
sense?
Everybody loves romance! Or do they???
One reason could be that
romance is universally relatable, so it increases the potential target audience
of the story. I mean, you may not be a big fan of classic medieval fantasy but might
still watch the LoTR movies because of Arwen and Aragorn and their
relationship. Well, that’s the theory anyway.
The problem is, though, that
this doesn’t really work.
I mean, it’s not as if
there’s any shortage of good romantic fiction out there. There are thousands
upon thousands of excellent (and some not-so-excellent) romantic novels and
movies; created by people who are genuinely interested in the subject and enjoy
writing about it.
So why would a reader who is
genuinely interested in the romantic aspect of the story, forgo all of that
great literature to read a half-assed attempt at romance inserted into a
storyline that would not just have survived, but thrived without it?
Nobody reads Dan Brown for the romance. Angels and Demons would have
done just as well had Vittoria Vetra been Langdon’s long-lost sister.
Which is not to say, of
course, that writers and storytellers should not portray romantic relationships
in their stories unless it serves some kind of a crucial plot related purpose.
Romance is a part of life for
most people, and a character can have a love interest even if the love interest
doesn’t really add anything to the story, just like they can have a mother,
father, brother, or pet dog that doesn’t add much to the story.
The problem arises when it
becomes almost a cardinal rule of storytelling that the main character MUST
have a love interest, regardless of what else the story is about.
A Single-Minded Focus
I’m not saying there aren’t
stories with absolutely no romance in them. Of course, all rules have
exceptions. But it’s hard to find a popular piece of fiction, written in recent
times, where the main character doesn’t have a love interest of some sort.
If Poirot had been created in the 2010s, you
can be damn sure he would have had a long-lost girlfriend (or boyfriend) tucked
in there somewhere!
And that wouldn’t be a
problem if this exclusive focus on romantic couplings hadn’t sidelined all
other types of relationships. Platonic relationships, even those as fundamental
as parent-child or sibling relationships, are often overlooked and glossed over
in favor of devoting page-time to a romance that may or may not add anything to
the story.
The Sidelining of Platonic Relationships
Of course, there are
exceptions to this too. Supernatural, one of the most popular (and long
running) TV shows of recent times, is all about the relationship between two
brothers, their trials, tribulations and triumphs.
But that is definitely more an exception than a rule.
Even with the recent rise in
the popularity of on-screen ‘bromances’, far fewer shows, films or books focus
heavily on platonic relationship dynamics at the cost of romantic ones.
Nowhere is this more apparent
than in BBC’s Sherlock, where a canonically aromantic
character such as Arthur Conan Doyle’s Sherlock Holmes was romantically
‘shipped’ with multiple characters by the showrunners throughout the four
seasons of the show. The same can be said for Elementary, Sherlock’s American
counterpart.
It got to the point where
even Mycroft, Sherlock’s nigh-omniscient and borderline robotic older brother,
wasn’t spared the shipping treatment in the final few episodes of the BBC show.
The Increasing Diversity in Fictional Romance
Of course, one must give
credit where credit is due. And while romance is everywhere, at least it’s now
far less monochromatic and homogenous than it was before.
While it’s still not very
common, it wouldn’t be absolutely shocking and unimaginable to see (or read
about) a lead character in a same-sex relationship of the romantic variety.
Case in point, one of the characters that BBC’s eponymous Sherlock was
relentlessly ‘shipped’ with, by both the showrunners and the fans, was Dr. John
Watson, his best friend and companion from the original novels and short
stories.
Which again, brings us neatly around to the point about the glossing
over of platonic relationships in favor of romantic ones.
Perhaps the fact that I am
aromantic has something to do with my fatigue with the oversaturation of
romance in fiction. It certainly does have a role to play, in all probability.
But mostly, I’m tired of
seeing the same old tropes reused over and over again by people who very
obviously don’t even care about the tropes themselves, and are only adding them
in because they somehow feel like they have to.
There are romantic subplots
that I still enjoy, but they’re few and far between. Six of Crows by Leigh
Bardugo is a good example of a story that properly integrates the romance with
the plot without making it feel contrived.
But you know what I’d really like at this point?
A Break from the Constant Barrage
A main character who doesn’t
give a flying fuck about getting the girl (or the guy), and has, you know,
goals and aims that do not revolve around the desire to stick their tongue down
somebody else’s throat. That’d be a nice change of pace, wouldn’t it?
It’s not even that they have
to be aromantic or asexual or anything like that (though a little
representation here and there wouldn’t be totally unwelcome). But that isn’t
the point. At least not for me, and not at this moment.
The point is to explore relationships that don’t necessarily end with
the participants getting into each other’s pants.
Not as viscerally satisfying,
perhaps, but certainly quite emotionally rewarding when done well. Theft of
Swords got this right with the relationship between friends and
partners-in-crime, Royce and Hadrian.
I haven’t finished the series
yet, but I would pay to see Brent Weeks spend more page-time developing the
relationship between Kip and his father/uncle Gavin, rather than the tired old
bodyguard romance between Gavin and Karris.
And dear Lord and Terry
Pratchett, could we have a sequel to Good Omens? Pretty please?!!
My Own Struggles with Romantic Subplots
And it’s not that I haven’t
tried writing romance myself. Believe me, I have! But for me personally, it
always felt like being on the outside looking in. And not with a clear enough
view to do justice to the genre or bring much by way of authenticity to the
table.
So when I started writing my
second novel, I decided to forgo any romantic subplots. Which wasn’t an easy
decision at the time; not with the market flooded with romance-laden fiction in
every genre.
For a time, I genuinely believed that nobody might want to read a book
with no romance in it.
But that’s the thing, isn’t
it? There are already plenty of books with plenty of romance in them. And
better written romance than anything I could hope to produce. So why would a
romance enthusiast come my way to satisfy their cravings for literary liaisons
anyway?
And maybe I didn’t need
everyone under the sun to like my stories. Maybe, all I needed was to be true
to myself, and by extension, to maybe be true to the people who agree with me
about this particular topic.
Authenticity versus Popularity
I mean, surely I can’t be the
only person who’s been dying to read about a solid friendship surrounded by all
the magic, mayhem and badassery that the mind can handle!
Surely, there are other
people out there who find the development and growth of an interesting platonic
relationship as engaging as that of a romantic one.
Which is not to say that I
will never write about romantic relationships, of course. Just that I wouldn’t
do so just to tick a box by inserting a cliché love story into a novel that
doesn’t need it, and isn’t enriched by it in any way.
And if that means I’m not
casting as wide a net as I could have for my projects? Well, at least I’d be
casting a more authentic one, and hopefully a more interesting one as well!
And if at some point in the future, I feel like there’s a
romantic story that I just HAVE to tell? Oh well, blog posts can always be
edited, can they not?