Fantasy as a genre has long captivated readers with its limitless potential to transport us to magical realms, introduce us to unforgettable characters, and challenge the boundaries of our imagination. My personal journey with fantasy began in the early 2000s, but my love for fantastical storytelling predates that by years. I grew up enthralled by 1001 Arabian Nights as translated by Richard F. Burton, The Adventures of Amir Hamza, and the countless fantastical tales from the Indian subcontinent that were passed down through generations. These stories were rich with cultural nuance, grand adventures, and moral depth.
When I finally picked up The Lord of the Rings by J.R.R. Tolkien, it felt like stepping into a different literary league altogether. Tolkien’s prose was poetic, layered, and masterfully crafted. I remember thinking that his writing was as good—if not better—than literary greats like Charles Dickens and John Steinbeck. From there, I dove headfirst into the worlds of Robert Jordan, Ursula K. Le Guin, Robert Heinlein, George R.R. Martin, Steven Erikson, Brent Weeks, and my personal favorite, Brandon Sanderson. Each of these authors offered something unique: intricate world-building, morally complex characters, and narratives that often left me questioning my own perspectives on life, morality, and human nature.
But over the past few years, my enthusiasm for modern fantasy has waned. While I’ve explored works by newer authors like Sarah J. Maas, Rebecca Yarros, Samantha Shannon, and others featured in book subscription services like Illumicrate, I’ve been left increasingly disappointed. This brings me to a pressing question: Is the current wave of fantasy literature dumbing us down? And perhaps more alarmingly, is this shift making us less discerning readers?
The Decline in Writing Quality
Let’s start with the writing itself. One of the most glaring issues I’ve noticed with many of today’s popular fantasy novels is the decline in the quality of prose. Many modern authors seem to write with a style that feels geared toward teenagers—basic sentence structures, an over-reliance on clichés, and an almost juvenile attempt to sound “edgy” through the use of expletives or modern slang.
Take Rebecca Yarros’s Empyrean series, for instance. The premise—a school for dragon riders—holds incredible potential. Dragons have long been a staple of fantasy, and when done right, they can elevate a story to iconic status (A Song of Ice and Fire, anyone?). But in Empyrean, the writing feels rushed and lacks depth. The romance is forced, the dialogue feels stilted, and the emotional stakes are rarely convincing. The relationship dynamics are predictable to the point of absurdity: a brooding, handsome anti-hero who, despite all odds, the protagonist falls for. It’s formulaic, and worse, it’s dull.
Contrast this with Brandon Sanderson’s earlier works like Elantris or Brent Weeks’s Night Angel trilogy. While both authors had room to grow in their writing styles, they brought something fresh to the table: unique worlds, gripping plots, and characters you couldn’t help but root for. Even their early flaws were forgivable because their stories had heart and ambition. Over time, their writing evolved. Sanderson’s Stormlight Archive and Weeks’s Lightbringer series showcase just how much they refined their craft. Many of today’s authors don’t seem interested in this kind of growth, and it shows.
The Problem with Recycled Stories
Another major issue plaguing modern fantasy is the lack of originality. Yes, most stories can indeed be categorized into a handful of archetypes. Joseph Campbell’s Hero’s Journey has been a blueprint for countless narratives, and fantasy is no stranger to recurring motifs like the chosen one, the epic quest, or the battle against a dark force. But there’s a difference between drawing inspiration from timeless archetypes and outright recycling old ideas.
Rebecca Yarros’s Empyrean series, for example, feels like a rehash of Harry Potter but with dragons instead of wands and schools of magic. Samantha Shannon’s The Priory of the Orange Tree offers impressive world-building but stumbles with its pacing and story. The 850-page tome spends so much time setting up its world that by the time the big conflict arrives, it feels rushed and underwhelming. It’s a textbook example of style over substance.
Then there’s Tahereh Maafi’s This Woven Kingdom. While the Persian-inspired setting adds a refreshing twist, the story’s pacing and narrative cohesion leave much to be desired. The book feels like a missed opportunity—full of potential but bogged down by uneven execution.
The Role of Readers in This Equation
As disappointing as some of these books are, we also need to ask ourselves: Why are these stories becoming bestsellers? Why are books like Empyrean making it onto the New York Times bestseller list while more ambitious, well-written novels struggle to find a wide audience?
One possible explanation is the shifting priorities of readers. Studies show that fewer teenagers are reading books today, with social media taking up much of their time. This means that a significant portion of the readership for YA and YA-adjacent fantasy consists of adults looking for light, escapist reads. There’s nothing inherently wrong with that—sometimes we all need a break from heavy, complex narratives. But when these types of books dominate the bestseller lists, it raises questions about the collective appetite for challenging, thought-provoking literature.
Social media platforms like TikTok and Instagram also play a role in shaping trends. Books with aesthetically pleasing covers or simple, trope-heavy plots that are easy to explain in short videos often get more attention than books with nuanced characters and intricate plots. The result? A market that rewards mediocrity and discourages risk-taking.
The Path Forward
So, what can we do about it? First, we need to hold authors and publishers accountable. Readers should demand better stories—ones that challenge us, inspire us, and push the boundaries of what fantasy can achieve. We should celebrate authors who take risks, who spend years honing their craft, and who refuse to settle for “good enough.”
Second, as readers, we need to broaden our horizons. Don’t just read what’s trending on TikTok or what’s on the bestseller list. Seek out lesser-known authors, revisit the classics, and explore genres outside your comfort zone. A good book should leave you richer for having read it.
Closing Thoughts
As my dad always said, “There is no better friend than a book.” But I don’t want friends who make me dumber. Fantasy has the power to ignite our imaginations, challenge our beliefs, and transport us to worlds beyond our wildest dreams. Let’s make sure it continues to do so by demanding stories that are worth our time and attention. Because at the end of the day, a good story is not just an escape—it’s an invitation to grow, to learn, and to see the world in a new light. Let’s not settle for less.
JPS Nagi
January 26, 2025