Inclusive Magic: The Evolution of LGBTQ+
Representation in Young Adult and Adult Fantasy Novels
by
Robyn McCullough

Undergraduate Thesis Submitted in Partial Fulfillment of the
Requirements for the Bachelor of Communication
in the
School of Communication

© Robyn McCullough 2022
CAPILANO UNIVERSITY
Spring 2022

Copyright in this work rests with the author. Please ensure that any reproduction
or re-use is done in accordance with the relevant national copyright legislation.

ii

Approval

Name:

Robyn McCullough

Degree:

Bachelor of Communication

Title:

Inclusive Magic: The Evolution of LGBTQ+
Representation in Young Adult and Adult Fantasy
Novels

Examining Committee:

Faculty Supervisor: Kym Stewart
School of Communication

iii

Ethics Statement
The author, whose name appears on the title page of this work, has obtained, for the
research described in this work, Human Research Ethics approval from Capilano University
Office of Research Ethics.
A copy of the approval letter is attached.

iv

v

Abstract
This research paper will examine the evolution of LGBTQ+ representation in the fantasy book
genre over the last two decades. In particular, the investigation will examine the shift in the
portrayal of LGBTQ+ characters from tragic and two-dimensional to complex and relatable
individuals. The fantasy genre is known to subvert social norms through its suspension of reality
and has been at the forefront of the shift in diversity and representation; however, there is a lack
of scholarly research on the impact of the fantasy book genre and LGBTQ+ representation. To
examine this shift, four methods will be employed: an autoethnography (as I am an avid reader
and have recognized this shift); a discourse analysis of fourteen fantasy books; an online survey
of reader experience, and finally interviews with six members of the reading community. I
anticipate that other readers will have noticed this shift in representation as I did as well as create
an open conversation into where the fantasy genre still needs work. This study will contribute to
the extensive research into the trends of LGBTQ+ representation within media as well as fill in
the gaps of research when it comes to the fantasy genre’s involvement in this area.
Keywords: LGBTQ+ representation; fantasy book genre; YA fantasy literature; diversity;
character study

vi

Dedication
To all the readers who yearned to see themselves as the hero.

vii

Table of Contents
Approval ......................................................................................................................... iii
Ethics Statement ............................................................................................................... iv
Abstract ........................................................................................................................... vi
Dedication ...................................................................................................................... vii
Table of Contents ............................................................................................................viii
List of Acronyms ............................................................................................................... x
Introduction ....................................................................................................................1
Review of the Literature ...................................................................................................8
History and Definition of Fantasy ........................................................................................8
Fantasy and the Subversion of Societal Norms .................................................................... 10
LGBTQ+ Representation in YA and Adult Fiction............................................................... 12
Methods.........................................................................................................................16
The Autoethnographic Approach ....................................................................................... 16
Qualitative Research ........................................................................................................ 18
Discourse Analysis ....................................................................................................... 18
Interviews ...................................................................................................................20
Quantitative Research ...................................................................................................... 21
Survey ........................................................................................................................21
Discussion ......................................................................................................................22
THEME 1: NORMALITY ..................................................................................................... 23
THEME 2: ESCAPISM ........................................................................................................ 38
THEME 3: DIVERSITY OF LGBTQ+ CHARACTERS ................................................................ 43
Limitations ....................................................................................................................51
Conclusion .....................................................................................................................52
References .....................................................................................................................53
Appendix A....................................................................................................................60
Appendix B ....................................................................................................................62
Appendix C....................................................................................................................63
Appendix D....................................................................................................................64
Appendix E ....................................................................................................................69

viii

ix

List of Acronyms

YA

Young Adult

LGBTQ+

Lesbian Gay Bisexual Transgender Queer +

x

INTRODUCTION
“Novels aren’t just happy escapes; they are slivers of people’s souls, nailed to the pages,
dripping ink from veins of wood pulp. Reading the right one at the right time can make
all the difference.”
Brandon Sanderson
The fantasy genre is a treasure trove of stories that depict strange lands and even stranger
people. Oftentimes, it creates an escape that leaves us yearning for something better, a
world where we can be ourselves without the pressure that comes with living in the
confines of the real world. While fantasy is best known for its magical elements and
suspension of reality, it has played a tremendous role in the rise, and acknowledgment, of
diverse representation, including representation of the LGBTQ+ community.
It is important to note that the acronym for the community has changed over
the years as more inclusion is achieved. When researching, I came across
articles using terms like queer, LGBT, LGBTQ, LGBTQ2+, and
LGBTQIA2S+. For the purpose of this study, I will use the acronym
LGBTQ+.
I grew up in a Christian home, where the LGBTQ+ community was not often discussed.
This lack of discussion of this community led me to believe that Christianity did not
support them. But years later, I began to consider that:1) we have more than a few friends
and relatives who are gay and we wholly accepted, and 2) my grandmother, a devout

1

Christian lady, sympathized with transgendered people’s journey trying to be themselves
within an intolerant society. To have such a devoutly Christian woman stress that it was
not our place to judge, and who acknowledged the trials that the LGBTQ+ community
has faced, was one of the reasons that I became so accepting of the LGBTQ+ community.
As a white, cis-gendered, straight woman, I knew that I was at an advantage when
it came to representation. If I were to pick up a book, the chances were that the main
character would be of the same race and sexuality as me. I was lucky in that the fantasy
genre has always been at the forefront of adding diversity to their books. While the
fantasy book genre was dominated by male leads, and many of my favourite childhood
books had male protagonists, I did not have to wait long before female leads became
popular. I was thrilled when people started pushing for more diversity within media,
particularly within literature. It was about time that my fellow bookworms felt
represented as I did. Although my home did not provide me with much information (until
years later), I gathered much of my knowledge of the LGBTQ+ community from the
online world and quickly became aware of the lack of representation within the literary
world.
As a child of the internet, I followed many voices on Tumblr and other social
medias that called for more LGBTQ+ representation; particularly for more variation so
that the community was not just represented by gay and lesbian characters or those
characters whose story seemed to follow one path—that of the tragic pasts or those who
had died young.

2

When I started to write my own fantasy novels, I wanted to be sure that I was
accurately representing any group that ended up in my novels. As all writers can relate to,
sometimes characters write themselves into being, and, if—and when—I encountered one
of my own LGBTQ+ characters, I wanted to be sure that I was portraying them in a way
that both realistic and respectful. And as a writer, I often look to how other authors to
hone my craft.
Two years ago, I picked up Crown of Feathers by Nicki Pau Preto and
discovered, to my delight, that there was a gay character who did not follow the typical
archetype associated with LGBTQ+ characters.
Archetype: “the core traits, values, and decision-making patterns of a
particular type of person” (8 Character Archetypes, 2021).
For LGBTQ+ characters, these typically include the jester, the rebel, the tragic archetype,
or more stereotypically, the “gay best friend.” For anyone unfamiliar with the concept,
the “gay best friend,” is a trope in which an LGBTQ+ character is often depicted as an
overly flamboyant, often male, individual who serves as comic relief for the protagonist.
The gay character in Crown of Feathers, however, while having a dry sense of humour,
was focused more on their goals of not dying while undercover among enemy soldiers;
so, as a reader, the fat that he was gay was quite inconsequential—much like the fact of
him being straight would have been. After this book, I began reading more books with
LGBTQ+ characters to see if they displayed the same non-stereotypical traits. What I
found was that there seemed to be this shift toward an increasingly complex LGBTQ+
character—authors were moving away from using old tropes or archetypes. I had seen
the sexuality of the characters move from the forefront—determining who they were—to

3

a less important defining characteristic. LGBTQ+ characters were written with more
nuance and it was their adventures in the fantastical world that was highlighted; many
writers were even making LGBTQ+ characters the main characters of their stories.
This was so interesting to me so when it came time to choose a topic for my
thesis, I took the opportunity to fully investigate the phenomena.
I quickly discovered there was a surplus of research on LGBTQ+ representation
and the overall fiction genre, however, there seemed to be little research on the fantasy
novel genre. In fact, when using the terms “fantasy” and “LGBTQ+ literature” on the
Capilano University library search only a few articles turned up and, of those that have
been published, many focus on the fetishization of LGBTQ+ characters.
It is difficult to fully understand why researchers haven’t examined fantasy novels
and LGBTQ+ representation. Perhaps the lack of literature is because the fantasy genre is
well-known for its ability to suspend reality; due to its use of magical elements.
In the past, fantasy has been used to subvert social norms and has provided a
space to discuss issues such as racism, discrimination, and gender inequality—so maybe
may researchers assumed the genre would be at the forefront of LGBTQ+ positive
representation.
I often feel fantasy can portray worlds that, to the untrained eye, are completely
different from our reality, fantasy has often turned the metaphorical mirror back on us
and reflected our own societal shortcomings.

4

Whatever the case of this genre being ignore is, I feel that my research is well
positioned to deepen this area of study and provide a glimpse into how the genre has
aided in LGBTQ+ positive and nuanced representation in novels.
This research paper aims to examine the shift in LGBTQ+ representation in the
fantasy genre over the last two decades. In particular, I will be investigating the shift
in the portrayal of LGBTQ+ characters from tragic and two-dimensional (simple
character) to nuanced and relatable characters (complex character) whose sexual
orientation does not define them.

So, basically a look at a simple character to a complex character. While the
simple/complex dichotomy is something I saw for myself in my past-time readings, I aim
to define these terms, and this shift, based on research into diversity and representation
to date.

The Big Shift
A simple LGBTQ+ character typically fits into the comic relief or tragic character
mould that leaves little room for them to grow. Their sexuality is overt, and their main
feature, and they are regarded as an anomaly within the story.
A complex LGBTQ+ character is one that is part of the queer community but has
other attributes and interests that do not involve their sexuality unless their sexuality is
integral to the plot. For complex characters, their sexuality is normalized within the plot.
Essentially, I am looking at a queer character versus a character who is queer.

5

COMPLEX LGBTQ+ CHARACTER

SIMPLE LGBTQ+ CHARACTER
-

Tragic for the sake of tragic

-

Is gay but has other personality traits

-

Ostracized for no reason

-

Sexuality is not the whole story

-

Gay best friend and usually sarcastic

-

Portrayed as evil (Queer as Tropes,

unless it’s a coming-out story
-

Being gay is normal in the world in
which they are in

n.d.)
-

Contributes to the plot and is not just
there to be tragic

This shift toward complex LGBTQ+ characters has been noted in television and film.
For example, Tara Shivkumar (2016) of GLAAD Media, compares How To Get Away
With Murder’s Annalise Keating’s bisexual and amoral character to her villain
predecessors within media. Shivkumar also examined Halt and Catch Fire’s Joe
Macmillan and Mr. Robot’s Tyrell Wellick as an example of a dangerous bisexual
stereotype in which the characters use their sexuality as a means to an end rather than as
part of their identity. On this, Shivkumar says:
While many shows have made a stab at the queer villain or anti-hero, most
of them lack nuance. More often than not, these characters are seen as
dangerous or corrupt because of their identity as LGBTQ. That isn’t the
making of a complex and original villain; that’s harmful fearmongering
based on outdated tropes and stereotypes that damage the community. (Para.
4)

6

While their example does not involve the fantasy genre or literature in general, I can see
how their notion of the complex character, and the archetypes that they typically fall into,
transfers into other forms of media.

7

REVIEW OF THE LITERATURE
History and Definition of Fantasy
The fantasy genre is a sub-category of the broader fiction genre and finds its origin
deeply entrenched in the social climate of 18th Century Europe and the Romantic
Movement (Bal, 2021). Initially categorized as imaginative fiction, in that the story told
is not based on reality (Oxford Reference, n.d.), it soon found its name ‘fantasy’ back in
the Enlightenment Movement, a moment in time when as society was moving away from
traditional ways of living, that relied on religion, towards a more scientific ways of
thought. At the time, there was a division between enlightenment, comprising of a heavy
focus on science, politics, and philosophy (History.com, 2009), and the supernatural,
which was for many seen as “primitive” (Bal, 2021). This meant that literature that
diverged from reality, and into the fantastical form, was not seen as a serious art form;
not like the new scientific or philosophical books. Originally marketed to children, due to
the lack of the “serious mainstream realist” tone (Bal, 2021, p. 1285), the fantasy genre
finally became popular among adults during the early twentieth century, partially due to
the release of Tolkien’s Middle Earth Saga. Tolkien’s work paved the way for other
fantasy novels because it was the first to break into mainstream media, in the 1930s, due
to the series’ powerful writing style and realistic character development (Pettinger, n.d.).
Even today, Tolkien’s work is heralded as one of the greats of fantasy literature,
along with George R.R. Martin, Terry Pratchett, and Robert Jordan.
As seen, the fantasy genre has a complex lineage, so it’s no wonder the definition
is also widely discussed. Scholars agree up on the idea that the genre is the opposite of

8

realism (Vu, 2017; Esberk, 2014; Bal, 2021); though the broad nature of realism means
that defining the genre can be difficult. In many cases, fantasy has been used to describe
any sort of literature that diverges from reality in any way (Esberk, 2014).
Vu (2017) describes the fantasy genre as “the clearest descendant of romance and
adventure fiction” (p. 295) that “relies on the kind of associative logic commonly
criticized as ‘magical thinking,’ in which connections are drawn via analogy, emotion,
and desire, collapsing temporal sequence into a vague yet immediate present” (p. 288).
Esberk (2014), on the other hand, sees fantasy as a combination of the fairy tale and the
heroic epic, though they agree with Vu’s statement that fantasy becomes a reflection of
one’s desire.
In examining work by literary critic David Pringle and other historians in the
field, Esberk (2014) outlines the subcategories of fantasy fiction: science fiction, horror,
magic realism, and pure fantasy. As fantasy is often represented as the supernatural side
of fiction, science fiction, or sci-fi, is seen as the more logically grounded, despite its
fantastic elements. While fantasy and science fiction are often seen as opposing forces,
the latter is really an offshoot of the fantasy genre, as is horror (Vu, 2017; Esberk, 2014).
It is Pringle’s (Via Esberk) definition of pure fantasy that reflects what scholars
believe is the core message of the fantasy genre:
The sense of the yearning heart for a kinder world, a better self, a wholer
experience, a sense of true belonging. (2014, p. 140, as quoted by Pringle,
p. 8)
Scholars also have pointed out that this less than agreed on definition of the fantasy genre
is seen as a limitation in literature analysis studies, due to the fact that it has evolved over

9

time and a certainty of a definition has yet to be developed (Stern, Robbins, Black &
Barnes, 2019; Esberk, 2014).

Fantasy and the Subversion of Societal Norms
Fantasy thus disrupts the reason/nature binary, subverting the contemporary culture of putting
man at the centre [sic.] with nature as his commodity and consequently offers alternative ways of
being and living (Bal, 2021, p. 1289).

The fantasy genre has become a safe space for individuals who are considered outcasts in
many social settings due to its ability to subvert social norms. For someone unfamiliar
with the depth and complexity of the fantasy genre, it can seem to have little influence on
the real world; some may assume that the lack of realism makes the story and characters
unrelatable. However, scholars have found that this is not the case. The fantastical nature
of the genre allows for the subversion of societal norms (Fong, Mullin & Mar, 2015;
Miller & Blackburn, 2015; Stern, et al., 2019; Bal, 2021) and this writing has been used
as social commentary. Bal (2021) investigates the potential for fantasy to create an
ecocritical conversation (Ecocritism is an area of study that focuses on the natural world,
particularly environmental concerns, and how it is portrayed in literacy worlds) by
examining novels by acclaimed fantasy authors J.R.R. Tolkien and Ursula Le Guin. Bal
suggested that readers would help redefine their relationships with nature using these
books and connect with a discourse of recovering man’s relationship with the natural
world. Tolkien described his novels, and the development of a storyline of war and a
fantasy place—Middle Earth—as a way to escape the real world (noting he was writing
for an audience how had just experienced the First World War); Le Guin’s world of
Earthsea is one in which humans are in exile and have lost their connection with nature
10

and investigates life in a post-industrial world. Bal argues that both highlight the need to
take care of the earth and warn us about the repercussions of not doing so. The idea of
using fantasy, to reflect an understanding of our reality, has according to many
researchers the opportunity to teach readers about real-world problems (Bal, 2021; Fong
et al., 2015; Stern, et al., 2019; Garcia, 2017).
In their study, Esberk (2014) investigates the function of fantasy as a subverting
genre. Esberk (2014) claims that not only does fantasy succeed at going against social
norms, but that the genre “aims at subverting, rewriting, and re-evaluating what has
already been written” (p. 139), allowing for another perspective to be brought forth. They
argue that the genre can do so due to it being free from the norms and constraints that
other genres are confined to. For example, Robin Hobb’s bestseller Farseer trilogy is a
prime example of fantasy’s subversion of norms as it does not shy away from LGBTQ+
characters (Melville, 2018), thus subverting the norm of not adequately addressing
sexualities that diverge from heteronormality.
As fantasy continues to subvert social norms and address less discussed topics, it
allows the reader to gain a new perspective on what is being subverted. In their
investigation into the lack of discussion about sexual identity in schools, Moje &
MuQaribu (2003) stressed that what we read influences how we form our identity and our
perception of the world. A 2019 study on the impacts of genres on romantic relationships
showed that those who were exposed to the sci-fi/fantasy genre had a more realistic belief
about romantic relationships in the real world (Stern et al, 2019). Those who read fantasy,
not only had a higher belief in the impossible but were also more tolerating of perceived
moral taboos, including sexual identity (Stern et al. 2019). Another study (Fong et al.,
11

2015) found that there was a correlation between individuals who had a lifetime of
exposure to fiction, and their views on gender role stereotypes, gender quality, and
egalitarian thinking. They also note that those who read fantasy novels have a higher
tolerance and increased levels of empathy. These findings correlate with Esberk’s (2014)
claim that the fantasy genre aids in re-evaluating norms that would otherwise not be
questioned.

LGBTQ+ Representation in YA and Adult Fiction
As fantasy is a subcategory of the broader fiction genre, scholars tend to investigate
trends or shifts within the context of fiction as a whole. One of the most popular trends in
the last two decades is to investigate is the rise in representation and diversity novels,
particularly YA fiction. LGBTQ+ entered the world of literature in 1969, with its young
adult LGBTQ+ counterpart emerging shortly after (Garden, 2014). Since then, it has been
the subject of both positive and negative trends. In Garden’s (2014) investigation into the
origin and trends of YA LGBTQ+ literature, they identify a “continuing prevalent
message in the 1970s was the idea that LG people are doomed to be “punished” with
tragic results if they act on their feelings” (para. 6), one of the many stereotypes placed
on LGBTQ+ characters both at the time and in the years to follow. This idea of punishing
LGBTQ+ characters for acting on their feelings, can have a negative impact on
individuals who identify as part of the LGBTQ+ community. Additional research on
LGBTQ+ representation trends in the 2000s, by Banks (2009) emphasized that many
readers turned to books to find solace and to have burning questions, about the self,
finally answered. However, much of the advice given in earlier books were not positive.
They revealed that characters in popular (and accepted) gay literature from the 1960s to
12

the 1990s “taught [them and other members of the LGBTQ+ community] to disconnect
and move on” (p. 34), instead of having a conversation about their sexuality. Banks
argued that there was a need for a shift in the portrayal of LGBTQ+ characters and how
society views them.
LGBTQ+ representation in YA and Adult fiction has progressed since the 1970s,
the major change taking place in the late 2000s. However, Banks stressed that there was
still work to be done. Banks proposed a shift from solely sympathy toward the LGBTQ+
community, to having empathy for characters in the community, allowing from more
relatable characters. Essentially, Banks was searching for a shift from simple, tragic
LGBTQ+ characters, to characters that had a life outside of the “issue” of their sexuality.
More recently [as of 2009 when Banks published his article], LGBT
characters get to live, and because these characters are often the protagonists
of the stories, readers are challenged to understand them as fuller human
beings with thoughts, desires, and interests that may mirror their own and
that are not necessarily silenced by novel's end” (p. 35)
Banks was writing at the cusp of the phenomenon of empathetic LGBTQ+ characters as
studies of representation in YA literature (Garcia, 2017; Colborne & Howard, 2018)
show that this shift was still in its infancy. The rise in LGBTQ+ representation in
media coincides with pressure placed on publishing houses and with Obama’s
public support of gay marriage in 2012 (Kessock, 2012), which explains why it was
difficult to find popular fantasy books with LGBTQ+ representation before then.
While scholars are pleased with the shift in LGBTQ+ representation, they stressed
that there is still work to be done; particularly in the representation of bisexual characters
(Jiménez, 2015; Colborne & Howard, 2018; Corbett, 2019; Miller, & Blackburn, 2015;
Bittner, 2019). Colborne and Howard (2018) studied the shift in representation in YA

13

books published from 2009 to 2017 and noted that there is an increase in diversity in
terms of race, religion, and sexuality. They stated that this increase in sexual
representation is “reflective of societal attitudes toward homosexuality in general at that
time, and as social attitudes began to change, so did literary representations” (p. 3). Their
study of 22 books revealed that 2015 to 2017 had the most LGBTQ+ representation, with
2016 having the most diversity. While Colborne and Howard (2018) saw a rise in
diversity and LGBTQ+ representation, they found that there was a lack of sexual
diversity within sexual representation. Many of the books in the 2010s featured white,
able-bodied, middle-aged teens, though they concede that the study’s book choice was
limited by the time they had to complete the study. Similarly, Bittner (2019) did a
critique of the book, Representing the Rainbow in Young Adult Literature by Christine A.
Jenkins and Michael Cart, and claimed that the book fails to address the complexities of
intersectional approaches that scholars take when looking at the field. These
intersectional approaches include race, class, and sexuality in other cultural contexts
(Bittner, 2019). Scholars were also concerned with the importance of the quality of the
books, namely the prominent themes of “accepted” LGBTQ+ books (Banks, 2009,
Garcia, 2017, Bittner, 2019) and critiqued the fact that books chosen for studies are done
so due to their popularity despite being problematic in other areas. In his critique, Bittner
noted that Representing the Rainbow in Young Adult Literature failed to consider the role
of intersectionality within representation. For example, while a popular book with
LGBTQ+ representation is used in a study, it might not accurately portray the issues of
race and class.

14

It is evident that there is still room for improvement when it comes to
representation in the fiction genre, but what progress has been made has aided in creating
a sense of community for LGBTQ+ readers.

15

METHODS
As an avid fantasy reader and writer, I’ve read a lot of books. A few years ago, I noticed
a shift from the simple portrayal of LGBTQ+ characters to ones that are more complex
and whose character does not revolve around their sexuality. Curious, I wanted to see
whether anyone else had noticed this shift. I wanted to investigate this shift in
representation in a more holistic way and chose to use both qualitative and quantitative
methods of gathering data. I decided on a discourse analysis of the books I had read,
interviews with individuals who were also avid readers, and an online survey for look at a
wider audience perspective on fantasy novels and LGBTQ+ representation.
I also wanted to use my own experience, my own shift in understanding and opening up
myself to recognizing and empathizing with the LGBTQ+ community via the fantasy
novels I was reading. To do this, I chose a qualitative method that allows my voice to be
woven in the voices of academics in the field; autoethnography. This allowed me to
reflect on what I read and how the portrayals of LGBTQ+ characters have shifted.

The Autoethnographic Approach
“Autoethnography writes a world in a state of flux and movement—between story and
context, writer and reader, crisis and denouement. It creates charged movements of
clarity, connection, and change.”
Stacy Holman Jones

16

Autoethnography is a qualitative approach that diverges from the rigid structure of
academic research. The approach emerged from the critique of objectivity within
academic research (Banks & Banks, 2000) and became a “method for circumventing the
colonizing and exoticizing action of ethnographer upon the cultural other” (Banks &
Banks, 2000, p. 234). Autoethnography takes an insider’s perspective as it looks both
inward at the self and one’s experiences as well as taking an outward look to see how the
subject of investigation fits into the cultural context. Autoethnography “challenges our
assumptions of normalcy” (Banks & Banks, 2000, p. 235), something that is crucial when
investigating a topic that was once seen as inappropriate to discuss in detail within
popular books.
It certainly challenged my assumptions about what is normal for the LGBTQ+
community. As I learn more about the community, I realize that there is a lot that I
still don’t know. For example, when discussing some of the stereotypes with my
interviewees, I discovered that many young LGBTQ+ individuals entering their first
relationship have little context and are more tolerant of toxic behaviour due to how
the relationships are portrayed in media.
I found it fitting to use this method of self-reflection when investigating representation
within the fantasy genre as it allowed me to discuss how what I had learned impacted me
as both a reader and a person. The format of autoethnography as a methodology allows
for a more nuanced investigation and the opportunity to explore my own thoughts,
experiences, and ah-ha! moments while investigating how the fantasy genre evolved in its
representation of the LGBTQ+ community.

17

In a way, autoethnography is reminiscent of a story’s narrator as it allows for
hindsight and self-reflection to colour the narrative as the story unfolds.
As a fantasy writer, I believe that it is crucial to have a solid understanding of
how one’s work can impact the reader. If I am to reach a broader audience with the
stories I tell, I want to ensure that any reader, no matter their background, can walk away
with something positive.

Qualitative Research
Discourse Analysis
Discourse analysis is a popular method within the literary field of research (Jiménez,
2015) as it allows for a more in-depth discussion of the literature. As I chose to take an
autoethnographic approach, to structure the thesis overall, discourse analysis seemed to

A Note on YA reader demographics and the New Adult Category
Aside from marketing and target audience, the lines between YA and Adult fiction are blurred. While
YA books are marketed toward 12-19 years of age, adults read the majority of YA literature.
An article explaining the marketing and style differences between YA Fiction and Adult fiction states
that “Adult fiction is more likely to be told in the style of a reflection on the past, mostly using third
person narration, sometimes presenting an omniscient perspective. Reflective, more ‘lyrical’ prose is
often favoured over the more action/plot-focused style of many YA books” (Bradshaw, n.d. para. 26)
New adult fiction, also referred to as NA fiction, is another category that aims to reach readers in that
limbo between young adult and adult, targeting ages between 18 and 25. (Kieffer, 2017). However,
NA has yet to gain much traction.

18

provide me with a method of to help me reflect of what I was reading read. The discourse
analysis sample was fourteen popular YA and adult fantasy books (See Appendix A for
the list of books that I selected). Initially, I read sixteen books, including Carry On by
Rainbow Rowell and Crier’s War by Nina Varela as it they are both very popular
LGBTQ+ YA novels, but eventually swapped them out for Vintage: A Ghost Story by
Steve Berman and Wolfcry by Amelia Atwater-Rhodes since they were written in the
early 2000s rather than in the 2010s. While scholars have classified sci-fi and horror as
subcategories of fantasy (Vu, 2017; Esberk, 2014), I looked at the fantasy genre as a
separate entity and did not include sci-fi novels in my study. The books were selected
according to the year that they were published and according to their popularity among
the reading community. I drew from my previous knowledge of books with LGBTQ+
characters as well as from book lists from Goodreads and Book Riot (Stepaniuk, 2018).
As I read each book, I took control notes in a research journal to document how the
characters were portrayed.
I decided to combine the results section with the discussion in order to integrate the
survey and interview results into the discourse analysis. The discussion was split into
three themes that allowed me to analyze how the representation of LGBTQ+ characters
evolved.

19

Interviews
Interviews, as a method in research, are often used to generate an in-depth discussion
about the topic and allow for different opinions to be expressed (Tracy, 2013). Drawing
INTERVIEW

from Garcia’s (2017) study of LGBTQ+ representation in YA

PARTICIPANTS:

fiction, my interviews were created to elicit experiences of fantasy

Syve

novels from members of the reading community. The interviews

Viridian
Jurassic

were conducted with members of the LGBTQ+ community, and

Kaizen

those who were not, who read books within the fantasy genre. Two

Raven

of the interview participants, Raven and Piper, were librarians

Piper

while the other four participants were university students. The
librarians were found through a mutual friend. The four university

students were friend of mine who were gracious enough to be part of my thesis and who I
knew enjoyed reading fantasy books. In total, six individuals participated in 40-minute
interviews which were then transcribed in a word processor for further analysis. Two sets
of questions were used: one for readers and one for the librarians. (For list of questions,
see Appendix A and Appendix B). The questions were open-ended and focused on
diversity, the interviewee’s experiences with LGBTQ+ representation in the fantasy
genre, and what they wished to see in the future.

The interviews served as a third-party commentary in order to tie information together
and highlight certain themes that appeared within the research. It also allowed an in-depth
perspective from readers who are part of the LGBTQ+ community as well as those who
are not.

20

Quantitative Research
Survey
In terms of quantitative research, I used an online survey to add to the qualitative data
collected via the interviews. As with the interviews, the data from the survey was used to
highlight themes within the research. (See Appendix B for survey results and graphs.)
The questions focused on reader experience with LGBTQ+ characters in fantasy books,
particularly focusing on the number of LGBTQ+ characters they had encountered and
whether the survey participants felt represented in the fantasy book genre. Participants of
the survey were between the ages of 19 and 35 who read fantasy novels that were
marketed as YA or adult fantasy. These books must have been written with English as the
first language. The survey was posted to r/fantasy on Reddit and was open for fourteen
days. In all, I received 133 responses.

21

DISCUSSION
Based on my research of the LGBTQ+ social movement I wasn’t surprised to find, in my
discourse analysis, that each year showed a rise in representation, whether in the way that
the author chose to describe the character, the reactions of other characters, or the
diversity of LGBTQ+ representation. There was also an increase of main characters that
identified as part of the community, and as we see in The Shadows Between Us,
background characters are more fleshed out and have their moments to shine.
There are a number of themes within the books chosen for the study. I have chosen three
themes that I believe are the most important:
1) Normality
o Normality investigates how LGBTQ+ relationships are portrayed in the
select books and whether they are normalized within the story. I selected
this theme because many of the books within my list chose to integrate
LGBTQ+ relationships into their worlds.
2) Escapism
o Escapism investigates the tendency to use fantasy novels as a way to
escape reality (Bal, 2021). I selected this escapism as a theme as it gives
homage to the fantasy genre’s ability to create divergent worlds.

22

3) Diversity of LGBTQ+ Characters
o

Diversity of LGBTQ+ Characters looks at who in the community

receives the most representation by looking at the number of LGBTQ+
characters in the books as well as the types of LGBTQ+ representation is
present, and how it changed over the last twenty years. I chose to look at
this theme as not only is the increase in number of LGBTQ+ characters
important, but also the different sectors of the LGBTQ+ community.
Because of the complexity of stories, there will be books that cross over into more
than one theme and some that do not show up in all the themes.
Before I begin, I feel that it’s important, and quite obvious, to state that there will
be major spoilers ahead.

THEME 1: NORMALITY
Most of the books I read for this study normalized same-sex relationships. Whether due
to fantasy’s use of subverting social norms or through the cultural context of a particular
book setting, the authors’ choice to normalize something that was once—and still is in
some spaces—so stigmatized lent itself well to the growth of the complex character.
In our interview, Kaizen found that the issue that a lot of readers and scholars
(Corbett, 2019; Banks, 2009) had with past LGBTQ+ characters was that they seemed to
be put in as “token characters.” LGBTQ+ characters’ arcs followed their tragic lives,
promiscuous lifestyles, or didn’t have any growth as characters at all. They were not

23

interesting, nor did they reflect reality, a strange word to use when talking about fantasy
books. But for the reader to really connect with the characters, they have to have
something going for them. They must feel real.
In our interview, Jurassic talks about the importance of looking at the person as a
whole being first before characterizing elements of them:
It's the person first, the whatever later. You are not defined by your
sexuality, by your disability, by your colour. It's the person and this. And
when a writer can nail that, I think it shows me that they understand how
humans work. That this is how life is. That they're not doing it for the sake
of doing it or for adding a thing into the plot. For representation…This is
life.

The individual is not defined by one element. They have dimensions to them, layers that
fall away the more you get to know them. And it is a mistake to assume you know
everything about them simply because you encountered one aspect. Like people,
characters should have dimensions to them. And like people, a good character cannot rely
on one element. Showing complexity in a character opens up the opportunity for many
people to relate to their circumstances and events they find themselves in. We, as readers,
can empathize with a wider variety of people when they are written in a complex manner
versus a simple gay/straight description. By normalizing same-sex relationships, an entire
community can see itself represented in the literature and relate to the characters in the
same way that others have been able to.
Wolfcry by Amelia Atwater-Rhodes (2006)
An earlier example of LGBTQ+ representation, Wolfcry follows a lesbian main character
who falls in love with another woman. Rather than dwelling on the uniqueness of their
love story, the book focuses on other issues including trauma from attempted rape, PTSD,
24

and the long journey to healing and falling in love again. The theme of the book is love
and belonging, a theme I would think all humans, no matter their sexual orientation,
could relate to. The characters embody a journey of knowing oneself and being accepted
the way you are by those you care about.
While the author delves into other relationship issues, outside of the same-sex
nature of the love story, they do compare the trials of the LGBTQ+ community with that
of the speciest nature of the novel’s world. More specifically, it touches on the
homophobic nature that many LGBTQ+ people face. In this world, humans can transform
into animal forms, the animosity between the avians and the serpiente leads to the severe
beating of one of the characters; after only a perceived slight. Later in the book, another
avian character is kicked out of his home for helping a serpiente character. These two
instances could be seen as a parallel to LGBTQ+ children who have been kicked out of
their homes or individuals who have been physically assaulted because of their sexuality.
While the parallel is quite overt, it is a product of its time. Novels written in the 2000s,
both in the fantasy and general fiction genres, followed a trend of homophobia or coming
out as a plot device (Clements, 2020). This meant that LGBTQ+ characters faced
homophobia as a main conflict point rather than having a conflict that non-LGBTQ+
characters would have. As we will see with Ash, written in 2009, books that did not
include a coming-out story were seen as unrealistic. While Wolfcry does not have a
coming-out storyline, it does touch on that underlying homophobic arc of an LGBTQ+
book written in the 2000s.
Seville, (n.d.) found that books featuring LGBTQ+ characters, that did not use
homophobia as a foil, received negative backlash from readers and the general public. As
25

more LGBTQ+ fiction became popular, there became less of an insistence to have
homophobia as a plot device and allow for more interesting stories to be told.
Vintage: A Ghost Story by Steve Berman (2007)
Vintage had the typical tragic LGBTQ+ character: an unnamed teenage boy who ran
away from his home after being outed as gay. It follows his journey, after an attempted
suicide, to befriend the ghost of a gay teenager who was killed in a hit-and-run in the
1950s, who he consequentially falls in love with upon first sight. The novella has a lot of
stereotypes, including a main character who is written as a male, gay,
fashion-savvy teenager who works at a vintage clothing store. The main
character can never seem to catch a break, from being outed as gay in a
homophobic society, attempting suicide, and then being haunted by
ghosts. When things finally start going his way, the ghost that he’s in

“I’m just sick and tired
of having something so
great happen to me
and then it all falls
apart” (Berman, 2007,
p. 23).

love with almost kills him. The issue of the tragic and angsty LGBTQ+
character was reflected in Bank’s (2009) article as they critique the lack of sympathy for
LGBTQ+ characters. On Bank’s (2009) work, Seville (n.d.) says that:
Most of the LGBT characters in YA fiction were secondary, often dead or
killed off during the narrative, or run out of town and separated from
community and/or family. The message is hard to miss: LGBT characters
are most useful if they’re dead and gone. (p. 45)

This was, and is, a dangerous mentality and has been a point of tension for many
LGBTQ+ readers. “I feel like I'm never going to ever be happy at the end of my life,”
Syve said in our interview, “because [in] all the books I'm reading, the characters end up
dead. It's like if I ever want to be happy at the end of my life, which is most people's goal,
I might as well give up being bi now.”

26

The attraction between the main character and his love interests is solely physical,
leaning heavily on the trope that homosexual men are constantly wanting sex (Queer as
Tropes, n.d.). One of the lesbian relationships is portrayed as toxic, as one cheats on the
other, during to a rocky period in their relationship. The toxic lesbian trope and the idea
of a purely physical attraction was a problematic trend that scholars Cook, Rostosky, and
Riggle, (2013), and Jiménez (2015) encountered in early depictions of LGBTQ+
characters.
Ash by Malinda Lo (2009)
Ash is a staple when discussing LGBTQ+ fantasy and is often heralded as the first of its
kind due to its popularity and was a finalist in a variety of awards including the Andre
Norton Award for YA Science Fiction and Fantasy, and the Lambda Literary
Award in 2009 (Lo, 2019). When Ash was published “it was one of 27 books about
LGBTQ main characters or issues published by mainstream American publishers” (Lo,
2019). This list did not just include fantasy books. This was in overall YA literature at the
time. The author, Malinda Lo, is an outspoken voice in LGBTQ+ representation and has
a blog dedicated to tracking the trends of LGBTQ+ representation in literature (Lo, 2019)
in order to showcase how far the YA literacy world has come.
Ash (Lo, 2009) is a lesbian retelling of the classic Cinderella fairy tale where
same-sex marriage is as normal as heterosexual relationships. On her blog, Lo describes
the backlash she received while on a panel at the World Fantasy Convention in San Jose
in 2009 (Lo, 2019). For many, having a lesbian main character was less realistic than the
fairies featured in the book. When I mentioned this in my interview with Syve, an avid

27

fantasy reader and part of the LGBTQ+ community, they were incredulous. “So, you're
okay with the thousand-year-old murderer that has black goo coming out of his hands but
you're not okay with the fifteen-year-old gay girl. Pardon?”
For a genre that is known for its suspension of reality, such an argument seems
ridiculous. Why was it that people were more accepting of fantastical creatures than they
were of the community that is undoubtably present in the real world? Why was it that,
like Syve says, people were more tolerant of the idea of a mass murderer than they were
of a gay teenager? Was it because one could be sure that such mythical creatures were
confined to the realm of fantasy? Or was it because of Lo’s creation of a world that did
not condemn same-sex relationships? One survey participant shared this sentiment,
saying that it was “jarring to [them] that these elaborately built worlds with mystical
creatures and made-up powers didn't have a single gay person.”
In their article, Lo also noted that readers found it unrealistic that Ash was not a
coming-out story, something that was against the norm of LGBTQ+ stories at the time
(Banks, 2009). However, as Ash takes place in a world where coming out is not
necessarily a big deal, the lack of such a storyline would have been shocking to the
reading community. While this would have been shocking the lack of lack of
homophobia and coming-out as plot points in Ash and in the books that followed, opened
the LGBTQ+ fantasy genre up to much more interesting stories. \

28

The Song of Achilles by Madeline Miller (2011)
The Song of Achilles is an outlier in my list as it is based on Homer’s Iliad and thus is not
an original work. However, the romance between Achilles and Patroclus is a classic.
While The Song of Achilles is based on mythology, it is a nod toward the fact that the
LGBTQ+ community, and sexual expression by extension, is not a new phenomenon and
has been around for hundreds of years. Miller notes that there were gay relationships
between boys in Ancient Greece and that they would later grow out of this as they aged.
She addresses the “abnormality” of Achilles’ and Patroclus’ intimate relationship by
having Odysseus comment on the fact that the two men are still together which upsets
Achilles. However, when another character, Briseis, proclaims her love for Patroclus, she
states that it is fine if he were to still have Achilles as a lover.
On her blog, Miller state that she did not write the novel as a gay love story.
Rather she “was deeply moved by the love between these two characters—whose respect
and affection for each other, despite the horrors around them, model the kind of
relationship we all can aspire to” (Miller, n.d., para. 2). This idea of focusing on the
connection between the characters and not their sexuality is a crucial part of normalizing.
The Fifth Season by N.K. Jemisin (2015)
The Fifth Season has a powerful discussion about sexuality and discrimination. This
intersectionality between sexuality and discrimination is what made this book stand out.
As the main character’s name changes throughout the story, I will refer to them as
Syenite/Essun.

29

The context of sex and sexuality is critical to understand when analyzing The
Fifth Season. The world in which this is set has Breeders who reproduce to ensure that
the strongest survive the Seasons, apocalyptic periods of time. This is why Alabaster, as a
strong tenringer, has a sexual relationship with Syenite even though neither of them feels
any attraction. This mindset could also be due to the treatment of the Orogenes (those
with magic) as they are seen, and consider themselves, as less than human and weapons
to be put down if they do not cooperate.
The normality of LGBTQ+ individuals also varies by location as the outer islands
readily accept a gay character and a polyamorous relationship between Syenite/Essun,
Alabaster, and Innon. The relationship between the three characters is healthy, and Innon
readily becomes a second father to the other two character’s child. The downside is that
Innon is killed later in the book, straying dangerously close to the tragic character trope.
Syenite/Essun’s acceptance of Tonkee’s gender identity could be because she is
part of the LGBTQ+ community. When Syenite/Essun, discovers that Tonkee is a trans
woman, she is surprised but makes no comment, quick to move on to the next topic at
hand:
Fortunately, it turns out that Tonkee did indeed bring all that water with
her for a bath. She does this in front of you, shamelessly stripping down and
squatting by a wooden basin to scrub at her pits and crotch and the rest.
You’re a little surprised to notice a penis somewhere amid the process, but
well, not like any comm’s going to make her a Breeder. She finishes up by
rinsing her clothes and hair with a murky green solution that she claims is
antifungal. (You have your doubts.) (p. 73)
I was struck by how nonchalant the author approached the topic, giving it no more
than a couple words before moving on. Syenite/Essun does not dwell on it until

30

later when she discovers that she met Tonkee when she was a child. Tonkee’s
own family, however, disowned her, claiming that it was “Not Done [sic.] for a
child who is born a boy to be a girl” (2015, p. 284).
While the opinions on same-sex relationships vary, the tension comes from the
racial discrimination within the book which gives the story a more realistic dimension.
This intersectionality is a popular field of study when investigating diversity and
representation. Both Colborne and Howard (2018) and Jiménez (2015) found that where
one type of representation is present, others are not. For instance, if sexual identity is
represented, diversity of religion or race is not. However, The Fifth Season touches on
both sexuality, race, and discrimination.
In my survey, one of the participants shared these words of wisdom: “I think the
more inclusive about these issues you are the less prejudiced people will be against these
groups. Not only sexual orientation but race, religion, all of it. Knowledge is the
antithesis of hate.”
Mask of Shadows by Lindsay Miller (2017)
The approach to Mask of Shadow’s genderfluid main character differs from the other
books in my study as it hints at a more realistic and relatable experience that the

31

community and allies face. Sallot has had difficulty explaining their state of being to the
point that they have come up with ways to make it easier for people to recognize their
current pronouns—dressing in skirts when wanting to be addressed as she/her or dressing
in loose clothing and pants if wanting to be addressed as he/him.
Sal also hints at previous negative reactions to their identity, including a character
who pointedly misgenders them throughout the
book. As the book progresses, the reaction of
other characters takes a positive turn. After an

Rath had asked once, a while after we’d met
and been living together and I’d not known
how to explain it yet. I didn’t have the words.

initial inquiry, the other characters don’t seem

He always felt like Rath, and I always felt like

bothered by the fact that Sal uses different

Sal except it was like watching a river flow
past, the river was always the same, but you

pronouns and adapted. On one occasion, a

never glimpsed the same water. I ebbed and

character makes a point of asking to be corrected

flowed, and that was my always. Rath not

if they misgender Sal.

understanding that had hurt the most, but at
least he accepted it.

In their interview, Viridian shared that

(Miller, 2017, p. 41)

having books that give readers the language to
use when talking to an LGBTQ+ person is helpful. For them, they’re used to people
assuming their gender and they understand that people make mistakes. “I feel like [it]
could also be healthy [to] give people language to know it's okay to mess up and try
again.”
As someone who is unfamiliar with genderfluidity, I am still grappling with the
use of they/them pronouns. Genderfluidity is still strange to me. When discussing with
Viridian, who identifies as non-binary and is very open about the subject, I expressed that

32

while the neutrality of non-binary makes sense to me, the idea of switching between
genders seemed so foreign. This book, however, uses a river metaphor that made it just a
little clearer for me. Having a visual of a river with a constant stream of water gave me
the imagery that allowed me to better understand that, no, a genderfluid person isn’t
trying to be two separate entities. Instead, they, like a river, are in a constant state of
change. The river may swell and shrink but it is still a river. Just as a genderfluid person
is still the same person, their gender is like water, always moving, always shifting.
Girls of Paper and Fire by Natasha Ngan (2018)
Girls of Paper and Fire is an odd one as the disdain for the two character’s love is due to
their positions as the king’s concubines, or Paper

“Everyone’s assumption is for women

Girls. Lai, the main character, states that “everyone’s

and men to be together, and yet here

[emphasis added] assumption is for women and men

we are, human girls, the Demon King’s

to be together, and yet,” she continues, “here we are,
human girls, the Demon King’s concubines. Surely

concubines. Surely love between two
women wouldn’t be so strange?”
(Girls of Paper and Fire, p. 78)

love between two women wouldn’t be so strange?”
(Ngan, 2018, p. 78). There is also a double standard among the other castes in the book
even though there are male courtesans for male court members.
Crown of Feathers by Nicki Pau Preto (2019)
[Kade] was like a bronze statue of some ancient hero in a temple garden,
gathering droplets of morning dew.
Sev inhaled sharply and cleared his throat, heat crawling up his neck. Since
when did Sev care about temple statues? He realized with dismay that he’d
been admiring more than Kade’s magic recently. He glanced up at the

33

bondservant’s still-scowling face, and a bitter feeling settled in his stomach.
Clearly the admiration was one-way. (p. 144)
This is the book that started it all, and the quote above is the first inclination I had that the
character wasn’t straight. And it took me a few paragraphs for it to sink
in. The book is not marketed as an LGBTQ+ read, otherwise, there would

But then he’d
looked at Nyk, and
his endless hope

have been a chance that I would not have picked it up. I will admit that I
was drawn to the concept of phoenix riders and a girl going undercover as

would make
Tristan want to
hope too, just like
Nyk’s faith in

a boy to become one. The reactions of the characters, both internal and
external, were why the idea of the shift toward the complex character

Tristan made
Tristan want to
have faith in
himself. He wanted
to be the person

stuck with me. Sev is more annoyed because he’s supposed to be hiding
among soldiers, not staring at Kade, the bondservant he is forced to work
undercover with.

Nyk seemed to
think he could be,
and he needed
Nyk by his side to
remind him that.
He needed Nyk by
his side because
he never felt more
himself than when
they were together
(Pau Preto, 2019,
p. 393).

The budding romance between the other two main characters was
one of the most powerful among the books that I analyzed. In order to join
the phoenix riders, Veronyka disguises herself as a boy called Nyk. One
of the other boys, Tristan, becomes good friends and starts to fall in love
with Nyk, not realizing until later that the boy he’s falling for is not a boy
at all. Tristian doesn’t worry that he is falling in love with a boy. He’s
more concerned with the fact that he’s falling in love. When Veronyka’s
identity is revealed, Tristan’s reaction is telling:

“It doesn’t change for me, you know,” [Tristan] said, still not looking at
[Veronyka]. “Boy, girl—whatever. You’re you and that’s all I care about.”
(p. 461)

34

From this, we can gather that Tristan is indeed bisexual. It’s never stated; rather, his
attraction to “Nyk” is evident in his point of view, as seen in this excerpt when Tristan
notices that his friend has fallen asleep in the Phoenix nest:
Everything about him was bright and vivid, as if Nyk didn’t do anything by
half—couldn’t, even if he wanted to. When he ran, no matter how tired, he
pushed until his legs buckled beneath him. When he talked about phoenixes
and Riders and animal magic, his whole face lit up.
And even when he slept, he did so with reckless abandon—his shock of
messy black hair standing on end and his mouth slightly open. (p. 264)
Master of One by Jaida Jones and Danielle Bennett (2020)
I might be a little biased on this one since it’s one of my favourite books. I read this book
a few months after it came out and was smitten with the slow-burn romance between
Rags, the human thief, and Shining Talon, the fae prince. So enamored that I completely
missed the trans character. It was a little embarrassing when I was scrolling through lists
of LGBTQ+ books to read for this thesis. More so when I realized it was one of the main
characters, an actress named Einan.
I blame the pretty fae prince.
With the knowledge in mind, the second read revealed the character’s sexuality in
the subtle nuances, such as when another character accidentally catches sight of Einan’s
flat chest or notices that her hands are larger than most women’s. It isn’t until much later
in the book when we get Einan’s point of view that the reader’s suspicions are confirmed:
For a time, Cathair Remington thought he had a son who’d inherit his
name—and the centuries-old family trade of barrel making. Until shortly
after her tenth birthday, Einan told him differently. She was no son but his

35

daughter. This he could understand and accept. What he couldn’t bear was
that she loved the theatre and not barrels. (p. 497)
But let’s get back to the stars of the show, so to speak.
The relationship between Rags and Shining Talon is as normalized as one can
expect when it comes to falling in love with a fae creature. It is the way that the authors
cultivate the romance that makes the book such a powerful part of the LGBTQ+ fantasy
genre.
As a fae, one can expect that Shining

“Something about his expression made

Talon has no concept of what is typically normal

Rags feel like an intruder just by watching. It

to human standards. Rather, he is devoted to

should have made Rags tremble. Instead,

Rags through fate, or misplaced loyalty, as Rags

he couldn’t help but notice the sharp, wolfish

calls it. Rags’ aversion to Shining Talon’s

beauty in the golden planes of Shining

devotion is nestled in the idea that he is nobody.

Talon’s face. Looking at him, Rags got the

It doesn’t stop him from describing the fae’s

same feeling he’d get when he caught the

looks in a begrudging way every chapter. When

glimmer of untended coin. An excited twist in

the characters interact, there is a heavy focus on

his gut. Pleasure so unexpected it was

emotion, whether it’s Shining Talon’s searching

almost pain.” (Jones & Bennett, 2020, p. 132

looks or the way that Rags slowly allows
himself to open up:
Shining Talon had a presence, a gravity, that glowed with trustworthy
brightness.
Rags didn’t trust it, or he couldn’t. Safer to burn out the part of him that
wanted to than to let it take root and flourish” (p. 280).
And later:
Everything shifted as they faced each other. Rags felt like all the pieces of
him had been there all along, but he’d been waiting for something else, a
big lug who had perfect shoulders, to bring those pieces together the way
they were meant to be. To feel so damn right. (pp. 528-529).
Looking at how the authors portrayed Rags’ and Shining Talon’s relationship, I am
reminded of what Kaizen said in their interview when discussing positive depictions of
36

LGBTQ+ relationships. Kaizen stressed the importance of “talking about the emotional
nuances of the relationship between two people who care about each other” rather than
focusing on biological sex. “[F]ocusing on that aspect of it, I think, is the most true to
life. And it respects the characters the most.”

37

THEME 2: ESCAPISM
Escapism is one of fantasy’s claims to fame. “I think everyone wants to see themselves as
a heroic person or a super-smart wizard,”
Like Wolfcry, The Fifth Season has a
shocking parallel between their world

Viridian said in our interview. “They want to be
able to imagine themselves being that.”

elements and our reality. In their
discussion of the humanity of the
oregenes, the magic wielders in their

“Reality can be exhausting,” Jurassic notes.

world, Alabaster’s words parallel the idea

When discussing the importance of escapism

that those part of the LGBTQ+

through fantasy, Kaizen, who identifies as

community are seen as less than human.
“We aren’t human.”

straight, pointed out that escapism is needed “so

“Yes. We. Are.” [Alabaster’s] voice turns

other people can have that opportunity…to

fierce. “I don’t give a shit what the

escape reality.”

something-somethingth council of big
important farts decreed, or how the
geomests classify things, or any of that. that
we’re not human is just the lie they Tell
themselves so that the don’t have to feel
bad about how they treat us.” (p. 298)

I have to agree. I have seen my fair share of
straight and cisgender representation in the
fantasy genre, and since the rise in female
protagonists, I can relate to many of the
mainstream characters in a new way, even if

some of the male protagonists from my childhood remain my favourite characters. But
even as someone who has the ability to relate to the majority of protagonists in fantasy, it
has been interesting to see other perspectives and characters, whether it is race, social
class, gender, or sexuality. Esberk (2014) suggests fantasy is a subverting genre that
allows us to question what we know about or world and experience it differently.

38

Escapism for those who are not often able to see themselves represented gives me, and
other readers, the opportunity to, metaphorically, walk a mile in someone else’s shoes.
Ash (2009), The Song of Achilles (2011), and Sweet and Bitter Magic (2021)
Piper, a teen librarian, noted that there was a rise in fairytale and classic retellings. This
rewriting of history and fairy tales through what they call a “queer lens” gives LGBTQ+
individuals a chance to see themselves represented in the tales they grew up with.
There were three books on my list that fell into this category. Ash takes place in a
world where same-sex relationships are normalized. Sweet and Bitter Magic takes the
same approach as Ash, although it also light-heartedly pokes fun at fairy tale tropes such
as willingly kissing a frog on the lips or the idea of love potions solving all our problems.
Again, The Song of Achilles took the classic Iliad and, while some argue that
Homer’s depiction of the relationship between Patroclus and Achilles was canon, Miller
puts an emphasis on the unique love between two iconic heroes of Greek mythology.
The Black Tides of Heaven by J.Y. Yang (2017)
The Black Tides of Heaven takes a completely different approach to gender. Everyone is
born gender-neutral and uses they/them pronouns until they choose a gender and are
confirmed through alchemical means:
“Sonami had just turned fifteen, yet still wore the genderfree tunic of a
child, their hair cropped to a small square at the top of their head and
gathered into a bun.” (p. 11)

39

Published in 2017, the novella takes something so fundamental as assigning gender at
birth and gives us a world where the individual’s gender is decided through time and
consideration. For some characters, deciding on their gender takes years. Perhaps this is a
nod to the snap judgements people make when meeting someone for the first time and
assuming their gender, or perhaps it’s a nod to the fear that some feel when teenagers
choose to begin transitioning.
In his investigation into fantasy as a subverting genre, Esberk (2014) stressed that
the genre’s ability to challenge and re-evaluate social and theoretical assumptions is
because it is free from norms and constraints that other genres are confined to. The Black
Tides of Heaven is a prime example of this. The book’s approach to gender and sexuality
is so different from our world. I can scarcely imagine what a nonbinary or gender-neutral
reader must have felt when reading Black Tides. Did they feel that same sense of freedom
as I did? Did they, like I, do a double-take when faced with all gender-neutral pronouns.
Did they find comfort in that?
The only nod to our notions of gender comes from the alchemic confirming
ceremony that takes place once a gender is decided. Those who do not get confirmed are
looked down upon.
Akeha, the man character, expressed an attraction to two men, one when he was
unconfirmed, and again when he had chosen to become a man. The latter became his
lover, an action that was not noted as any different from any other relationship. In fact,
the only disapproval comes from the fact that the main character’s lover is unconfirmed.

40

A Gathering of Shadows by V.E. Schwab (2016)
I could argue that the whole premise of V.E. Schwab’s Shades of Magic trilogy is about
escapism. With four dimensions of Georgian era London stacked on top of each other,
each land offers something different. And a bisexual prince of London who seems
relatively lucky in life is something that one would never imagine in our world at that
time.

Creating complexity in the
Having read the series before conducting this study, I will

admit that I was not enamoured with Rhy, the prince of Red
London. He seemed like a token LGBTQ+ character dropped
into the story as a tragic lynchpin for the main character. This
opinion would change once I got to the second book and found
that Rhy had all the components of not only a complex LGBTQ+
character but a complex character in his own right.
However, Rhy’s ex—and eventual—partner shows us a
more realistic reaction to an LGBTQ+ character, not just in the

characters and letting them
have personalities and
interests aside from whoever
they are romantically interested
in [is important] …. Like,
actually letting them be real
people instead of just some
little token of diversity that they
last-minute threw in there. You
know, like an actually wellthought-out character. It's been
a really nice change.
(Viridian)

Georgian time period, but for some of the LGBTQ+ community
today. Alucard’s family is less accepting of his sexuality. His brother, Berras, is
“disgusted with Alucard for loving the prince, and nearly killed him for it, getting him
banished from London and inadvertently breaking Rhy's heart” (“Alucard Emery”, n.d.).

41

I was struck by the polar opposites of the two characters’ treatment. Rhy
embodies that acceptance that the LGBTQ+ community yearns for: to be who they are
and to love who they want. This is what they could have. But for Alucard, his sexuality
almost cost him his life and did cost him his reputation. Alucard’s treatment reminded me
that while I was exploring worlds where the LGBTQ+ community was more or less
welcomed, the real world is not so kind.

42

THEME 3: DIVERSITY OF LGBTQ+ CHARACTERS
While there was definitely a rise in diversity of queer characters among the books
analyzed, most of my interview participants confessed how difficult it was for them to
see themselves represented in, not just fantasy books, but books in general.
“I read very few queer books as a teenager,” Piper explained. “…I was looking
for that character that could reflect me.”
Raven, a librarian, described how difficult it was to find books that they could relate to.
There were some classics like Tales of the City, but it was with male
characters. But there wasn't a lot for, you know, teenage girls who liked
girls, and so one of the first books that I found relatable was not even LGBT,
it was a book called Violet and Claire by Francesca Lia Block. And it was
about two friends who have a very close and at times confusing friendship,
and that to me was really what we had to go on. […] Like books where it's
not even text. It's subtext. And it's kind of all about that confusing period
where you're trying to figure it out.

The survey conducted on Reddit revealed that, even as LGBTQ+ diversity has
progressed, there were still members of the LGBTQ+ community who did not feel
adequately represented. When asked how often they relate to
the main character of a fantasy novel in terms of gender identity
or sexual orientation, 7.6% of participants said they have never
related to a main character. (For more information on the

Of the 133 survey responses:
51.1% identified as heterosexual
42.1% identified as bisexual
5% identified as asexual

percentage of readership, see Appendix D.)

43

Interestingly, 15.8% of the survey participants identified as asexual. There was
also a higher number of readers who had read a fantasy book with an asexual or
aromantic character, or a variation on the aro/ace spectrum.
As Banks noted in 2009, and later noted by Jiménez (2015), gay main characters still
dominate the majority of representation, followed by lesbian characters both in the survey
results and my discourse analysis. Nevertheless, I was pleased to see that there were some
bisexual characters represented in Wolfcry, Captive Prince, A Gathering of Shadows,
Mask of Shadows and Crown of Feathers. This was a community that scholars (Banks,
2009) hoped would be more featured.
Colborne and Howard (2018) critique the lack of diversity in sexuality in books.
However, when comparing that lack of diversity that they discovered with my list, I
discovered a good variety of diversity, especially in the later books which featured more
bisexual characters. I have selected the books on my list that show the most amount of
LGBTQ+ diversity in terms of number and type LGBTQ+ representation. (For a more
complete list of LGBTQ+ representation per book, see Appendix E.)
Wolfcry by Amelia Atwater-Rhodes (2006)
There are four overtly queer characters in this book: the main character and her partner,
and, to my pleasant surprise, two of the legendary figures after which The Kiesha’ra
series is named after. Three of these characters are lesbian and one is bisexual, given that
she also had a male lover. Given that this was the oldest book on my list, I was pleasantly
surprised by the number of LGBTQ+ characters.

44

Vintage: A Ghost Story by Steve Berman (2007)
Vintage had the least amount of diversity. The main character is a white, male, cisgendered, gay teenager. It features both gay and lesbian characters, though the lesbian
characters are not protagonists. Having only gay and lesbian characters was a popular
trend at the time as they were the most accepted (though to what degree is debatable)
(Banks, 2009; Bittner, 2019).
Jiménez (2015) found that characters and authors in underrepresented
communities were not present in book awards. However, Berman, who identifies as part
of the LGBTQ+ community, is widely acclaimed for his involvement in LGBTQ+
representation in literature and has been nominated for literary awards such as the
Lambda Literacy Award, the Gaylactic Spectrum Award, and the Norton Nebula Award
for Vintage, and his other books (Berman, n.d.; Klehr, 2016).
Captive Prince by C.S. Pacat (2013)
Anyone who has found themselves down the rabbit hole that is LGBTQ+ fantasy has
encountered this book, either due to its notorious nature and fanbase or due to its

45

popularity among smut readers. In the kingdom of Vere, it is considered taboo for men to
take women as mistresses due to the risk of bastards. Because of this, only married
couples can have a sexual relationship. The main character, a bisexual man, is forced to
become a slave for the prince of Vere. While some picking up the book without context
might view it as a vulgar addition to the stereotype that all LGBTQ+ individuals,
especially gay men, are driven by sex, Captive Prince “was one of the tipping points for
this rise of queer-normative fantasy universe” (Clements, 2020, p. 3).
Captive Prince was originally self-published before being picked up
by Penguin House in 2015 and was written for the original slash
community, slash being “fanfiction depicting a sexual and/or
romantic relationship or situation between two characters of the same
gender” (spillingvelvet, 2005).

Fan fiction (noun):
stories involving popular
fictional characters that
are written by fans and
often posted on the
Internet.
(Merriam-Webster, n.d.)

Fanfiction holds a tremendous place in the LGBTQ+
community as many young LGBTQ+ individuals turned to fanfiction in order to express
themselves or see themselves represented. While Raven and Piper made it clear that
library accounts are kept private, the online nature of fanfiction makes it extremely
accessible and easy to curate for readers. When inquiring into what year survey
participants discovered a fantasy book with an LGBTQ+ character, a few pointed to
fanfiction as their first introduction to LGBTQ+ stories. It’s certainly where I first
encountered stories about the LGBTQ+ community. Another survey participant wanted
to highlight the fact that “fanfiction [is] a place where queerness is often the default [and
that] finding fanfic as a preteen definitely normalised/humanised [sic.] queerness for
[them].”

46

The Fifth Season by N.K. Jemisin (2015)
There are a number of LGBTQ+ characters in The Fifth Season, including Alabaster, a
gay man, Innon, a bisexual man, and Tonkee, a trans woman. Three of the characters,
including the main character, Syenite/Essun, were also in a polyamorous relationship, the
only one among the fourteen books analyzed.
Mask of Shadows by Lindsay Miller (2016)
Mask of Shadows features both a genderfluid protagonist and a bisexual love interest,
which is a huge step in the right direction as both were, and still are, considered to be
underrepresented by scholars (Banks, 2009; Jiménez, 2015).
This book was a point of tension for me. I came across it back in 2017 and chose
not to pick it up simply because of how the synopsis was written. Take a look below:
Sallot Leon is a thief, and a good one at that. But gender fluid Sal wants
nothing more than to escape the drudgery of life as a highway robber and
get closer to the upper-class—and the nobles who destroyed their home.
I assumed from the synopsis that this book would have a token queer character. Instead,
as discussed previously, this book’s approach to genderfluidity was fascinating. While I
don’t agree with the way the author chose to write the synopsis, her word choice made a
great conversational point in my interviews.
My reader interviewees agreed that there was a better, more subtle way to
describe Sal’s genderfluidity. “I feel like pointing it out like that kind of detracts away
from the fact that it is a natural thing and is just part of who someone is,” Viridian said.
“It doesn't define them.”

47

Kaizen saw the reasoning behind the explicit nod to a genderfluid character being
because our society needed it. “We’re not there yet,” they said. There is more to be done
before our society will readily accept a gender-fluid main character. Syve pointed to the
backlash and negative reviews that authors get if they do not explicitly state that the book
features an LGBTQ+ main character. I certainly came across this when reading reviews
for Wolfcry where one particular reader stated that the series was ruined due to the
“immoral situations” the author added to the book (Stevens, 2011).
Or, like me, they would avoid the book at all costs.
However, when interviewing Jurassic, I was sidelined by their opinion of the
synopsis. When I explained how I had first come across Mask of Shadows in 2017 and
my hesitance to read it, they countered that I was not ready to read it. And they were
right. If I had picked it up back in 2017, I would have felt an enormous amount of
discomfort. But for someone who identified as genderfluid, finding such a book would be
like finding treasure. While Jurassic agreed that there might have been a more subtle way
of writing the synopsis, they stress that sometimes one needs to be overt to attract the
right audience:
I think that when people who aren't accepting pick up the book and are
surprised by it, [the author] tends to face a lot of backlash. And throwing
[genderfluidity] in the synopsis which everyone—most people—reads
before they buy a book, it weeds out the people already who won’t like
it…who are bigoted or who don't want to read about that or don't want that
representation. So, it already makes sure that the audience, the targeted
audience is reached.

Crown of Feathers by Nick Pau Preto (2019)
There are seven LGBTQ+ characters in this book who are a mix between gay, bisexual,
and lesbian, and while their sexuality is never stated, there are two male characters who
48

are dating. As with Wolfcry, two of the legendary queens and Phoenix riders are a lesbian
couple.
In addition, the book references trans characters:
Veronyka didn't feel like a boy on the inside—she wasn't like some of the
children she'd known growing up who might be born as boys or girls but
didn't feel like they fit that category, and so they dressed in a way that felt
right to them. That was their truth, no matter what the world saw.” (p. 234)
The Shadows Between Us by Tricia Levenseller (2020)
The Shadows Between Us took quite a progressive approach to daily life in a fantasy
royal court. The main character, Alessandra, is extremely opinionated and not afraid to
flaunt her sexuality as a confident young woman.
The book offers an interesting dialogue about sex and sexuality in general, and
while the main characters in this book are straight and cis-gendered, a handful of the
background characters are gay, including Petros, a gentleman trying to court another
gentleman.
“And what of you, Petros? Are you courting anyone?”
“Not anymore,” [Petros] says sadly. “I’d had my eye on Estevan Banis, but
at the king’s ball, he danced three times in a row with Lord Osias.”
“Men can be so fickle,” I offer.
“Indeed.” (p. 51)
Master of One by Jaida Jones and Danielle Bennett (2020)
Master of One had a stellar gay romance. It was also one of two books that featured a
trans character, and if the next book ever gets released, a trans main character who is a
love interest for another main character.
49

Sweet and Bitter Magic by Adrienne Tooley (2021)
Sweet and Bitter Magic featured two lesbian main characters, Tamsin and Wren, and at
least two lesbian supporting characters. In addition, it includes a character that uses
they/them pronouns.
At the far end of the table, Rhys, a witch who had been a few years ahead
of Tamsin in school, was shuffling their tarot deck, surrounded by several
younger witches. They dealt a hand, their black-painted lips frowning as
they took in the over eager faces. (p. 158)
It is unclear what gender Rhys identifies with, but it was nice to see them integrated into
the story even if they were only there for one scene.

50

LIMITATIONS
As with all studies, there were limitations that must be addressed.
The discourse analysis relies heavily on my interpretation of the texts within the study.
For example, someone else reading the books in the study might pick up on more
nuanced elements of the characters. My individual and cultural bias is also a limitation
(Atkinson & Delamont, 2006) due to the fact that I am a white, cis-gendered, straight
woman reading books featuring LGBTQ+ characters.
My book selection was another limitation as the books chosen do not represent
the entirety of LGBTQ+ fantasy literature. Due to the fact that I only had three months to
complete the thesis, I chose fourteen of the most popular LGBTQ+ books from the last
20 years. Ideally, I would have had a book for each year from 2000 to 2021. However, as
noted at the beginning of the discussion, it was difficult to find fantasy books prior to
2009.
While autoethnography is a valid form of research, the personalized nature of it focused
heavily on my experiences within the fantasy genre and with the LGBTQ+ community
and could have diverged from analysis and into therapy (Ellis & Bochner, 2000).
Due to time constraints, the sample size of the survey and interviews were
relatively small. The majority of the interview participants identified as part of the
LGBTQ+ community. While this is not necessarily a negative point, I would have liked
to have an even number of LGBTQ+ and non-LGBTQ+ participants.

51

CONCLUSION
The fantasy book genre has come a long way since 2000. When comparing the earlier
books to ones published later, the diversity of LGBTQ+ characters has improved. Of the
133 interview responses, 57.1% knew of more than 10 fantasy books that featured
LGBTQ+ characters. There has also been an increase in LGBTQ+ main characters.
Jiménez (2015) found that though there are strong female protagonists in YA fiction,
there were few lesbian protagonists. However, of the fourteen books analyzed six
featured lesbian characters. In those six books, there were seven lesbian main characters.
In addition, the rise of bisexual and transgender fantasy characters bodes well for future
representation.
There is still a long way to go. There are still so many people who are part of the
LGBTQ+ community who have not had their chance to be heard and who feel invisible
(Jiménez, 2015) because they do not see themselves reflected in literature. But as we
make progress, we can ensure that everyone feels that they have a place not only in
fantastical words but in our own.

52

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Appendix A
Interview questions for reader interviews.
1. Do you identify as part of the LGBTQ+ community? As a member of the LGBTQ+
community how difficult has it been for you to see yourself represented in
novels?
o

If not, do you have a friend or family member who identity as part of the
community? Has it given you a better understanding of the community?

2. Do you remember the first time you read a fantasy book with an LGBTQ+
character? how old were you? Who recommended this to you or was it a chance
read? What book was it?
3. Do you find yourself more drawn to books that represent you?
4. A lot of readers use books to escape reality. Books have a way of drawing
people in when they have characters that they can identify with. Why do you
think it is important to have books that promote diversity?
5. Have you ever had an issue with how an author has portrayed an LGBTQ+
character or relationship, either intimate or not?
o

Lesbian relationships as toxic

6. As representation becomes more mainstream, authors have begun explicitly
stating non-heteronormative sexualities in the synopsis of their books. For
example, Lindsey Miller’s Mask of Shadows’ synopsis opens with “Sallot Leon is
a thief, and a good one at that. But gender fluid Sal wants nothing more than to
escape the drudgery of life as a highway robber and get closer to the upperclass—and the nobles who destroyed their home.
o

Why do you think the author felt it was necessary to state this in the
beginning of the synopsis? Are there more subtle ways of stating this?

7. Have you seen a change in the way these characters have been represented,
both positive and negative? For example, instead of a gay character being as
comic relief and overly sarcastic or flamboyant, the character’s other traits are
more expressed.
o

In Crown of Feathers, there is a gay character who’s attraction to another
character is not as important as his need for survival.

60

8. What would you consider to be a green flag when reading about and LGBTQ+
relationship, whether intimate or not?
9. What would you consider to be a red flag when reading about and LGBTQ+
relationship, whether intimate or not?
10. Is there anything else you’d like to discuss regarding LGBTQ+ representation in
the fantasy genre?

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Appendix B
Interview questions for librarians.

1. How long have you been working at the library? What made you decide to work
there?

2. Do you identify as part of the LGBTQ+ community? As a member of the LGBTQ+
community how difficult has it been for you to see yourself represented in
novels?
⁃

If not, do you have a friend or family member who identity as part of
the community? Has it given you a better understanding of the
community?

3. Has the library ever received negative feedback for stocking LGBTQ+ books?
4. Is there anything you wish to see in the realm of LGBTQ+ representation within
the fantasy genre.

5. Were there any noticeable changes within the publishing industry?
6. Some people believe that only those who are part of the LGBTQ+ community
should write about them. What is your opinion on a straight author writing about
the experiences of an LBGTQ+ character?

7. A lot of readers use books to escape reality. Books have a way of drawing
people in when they have characters that they can identify with. Why do you
think it is important to have books that promote diversity?

8. Were there any limitations placed on LGBTQ+ books coming into the library? Or
do you know of any limitations within the publishing industry?

9. What part of the LGBTQ+ community do you think needs more representation in
the fantasy genre?

10. Finally, is there anything you’d like to add or want people to know about the
library and the books that the library carries?

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Appendix C
Fourteen books ranging from 2006 to 2021 were analyzed. These books were published
as Young Adult (YA) or Adult fantasy.

TITLE

AUTHOR

YEAR

PUBLISHER

2006

GENRE (YA
OR ADULT)
YA

Wolfcry

Amelia
AtwaterRhodes
Steve
Berman
Malinda Lo

2007

YA

Harrington Park Press

2009

YA

The Song of Achilles Madeline
Miller

2011

Adult

Little, Brown Books for
Young Readers
Ecco

Captive Prince

C.S. Pacat

2013

Gatto

The Fifth Season

N.K.
Jemisin
V.E.
Schwab
Lindsay
Miller
J.Y. Yang

2015

YA and
Adult
Adult

Tor Books

2017

YA and
Adult
YA

2017

Adult

Tor.com

2018

YA

Jimmy Patterson Books

2019

YA

Simon Pulse

2020

YA

HarperTeen

The Shadows
Between Us

Natasha
Ngan
Nicki Pau
Preto
Jaida
Jones and
Danielle
Bennett
Tricia
Levenseller

2020

YA

Feiwel and Friends

Sweet and Bitter
Magic

Adrienne
Tooley

2021

YA

Margaret K. McElderry
Books

Vintage: A Ghost
Story
Ash

A Gathering of
Shadows
Mask of Shadows
The Black Tides of
Heaven
Girls of Paper and
Fire
Crown of Feathers
Master of One

2016

63

Random House

Orbit

Sourcebooks Fire

Appendix D
Charts and numbers from online survey posted to r/fantasy on Reddit.

Figure D1

Figure D2

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Figure D3

Figure D4

65

Figure D5

Figure D6

66

Figure D7

Figure D8

67

Figure D9

Figure D10

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Appendix E
A table of mentioned LGBTQ+ characters in each book analyzed. The main
characters are in bold.

.

69