Romantic fantasy

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Romantic fantasy can be considered a sub-genre of fantasy or of romance. Some critics have described romantic fantasy as the intersection between fantasy and romance. In a work of romantic fantasy, the plot deals with the development of a romantic relationship between the protagonists, and the plot or setting involves an element of the fantastic, which can consist of any other subgenre of fantasy. Ideally, the fantastic element should be integral to the plot of the work -- that is, there would be no story left if the fantastic element were removed.

Romantic fantasy has been published by both fantasy lines and romance lines. Typically, fantasy publishers prefer a stronger emphasis on the fantastic elements of the storyline, while romance lines prefer a stronger emphasis on the development of the romantic relationship between the protagonists. However, there is some movement of authors between fantasy publishers and romance publishers, although this movement may be obscured by the use of pseudonyms and the policy of some publishers of considering a pseudonym to belong to the publishing house rather than the author.

The attitude toward magic in romantic fantasy is very different from that expressed in most high fantasy or sword and sorcery. Instead of magic involving complex and potentially dangerous rituals or calling upon dark forces, characters in romantic fantasy often possess psychic powers that are as natural to use as sight or hearing. Heroic magic-using characters often practice a kind of elemental magic that consists of the ability to manipulate one material or natural element and that can be performed with nothing more than a thought and a quick gesture. These powers and magic are usually seen as either an innate and positive part of someone's nature, or as part of the natural world. In either case, these powers are presented as positive gifts that only ignorant, misguided, or evil people will fear.

Three of the most common plots for these novels are:

1. A teenager, typically either from an overly strict or abusive family (or alternately from a family or a village that has been slain by bandits or monsters) runs away and discovers that she possess either magical or psychic powers and a glorious destiny. This destiny often involves saving a city, kingdom, or other large group from harm by a powerful villain or a dangerous monster.

2. A somewhat older person, often a minor noble or someone who has recently lost a loved one and has left her previous home in search of a new life (this character is also frequently a magician or psychic) either overthrows a usurper or saves her kingdom from outside invasion. Such characters are rarely warriors, and normally uncover the plots through a combination of intrigue, luck, and use of their powers. In the course of this adventure, the character typically falls in love and, by the end of the novel or at least by the end of the series, her lover becomes their life-partner. The complexities of this romance form a significant focus in these novels.

3. In a time of troubles, a group of adolescents or adults are drawn together through circumstance and destiny to form a group or organization that is larger than the sum of its parts. Generally, these young people are outcasts, orphans, or people on the fringes of society. Most or all of these people also possess some form of special powers. The groups' special powers sometimes form a complimentary set, such as a four people, each with the ability to command one of the four classical elements. These characters eventually find friendship, community, and sometimes love with the others in their newly formed group. This group frequently ends up either overthrowing the current social order (often to restore it to the realm's previous idyllic state) or overcoming some threat that no one else is aware of or able to face.

In all of three of these common plots, characters may start as solitary wanderers, but they never remain that way for long. One of the key features of romantic fantasy involves the focus on social, and to a lesser extent, political relationships. The characters all find close friends, lovers, and other companions who they either live with or travel with, as well as a larger social circle where they all belong. In addition, many character have significant ties with the larger world. Many of these characters have noble titles, or a sworn duty to their kingdom. The rootless travelers of sword and sorcery novels are rarely found in romantic fantasy.

Even when character leaves an abusive or oppressive environment, in romantic fantasy their goal is not to become free from all social ties. Instead, most characters are looking for a new community or social group where they truly belong. Being part of a supportive social group is considered far superior to being even the most independent and competent loner. Also, finding (or on occasion helping to create) a new social group where the character fits in and is happy is considered much better than attempting to force their previous group to change. In such novels, significant changes of opinion and practice happen gradually and must come from within.