Very rarely, you’ll read a fantasy series written by a woman, and are initially excited, only to hate 90% of the female characters, to which a little voice in your head will go “maybe you’re misogynistic”. It’s important that you do not listen to that voice, because as you keep reading, you’ll realize you’ll hate 90% of the male characters too, and hate what this closeted conservative author stands for.
And that’s the average experience with a SJM book.
Side note: Yes, SJM dislikes Trump. You can be a conservative and still hate Trump. She also worships Rhys, and guess who Rhys sounds like half the time….
Was browsing the news today and came across an article talking about narcissism, covert narcissism, specifically. I've often said in my reviews that there's a lot in SJM's books and characters that comes across as narcissistic. Thought I'd pull some quotes from the article and discuss how they come up in her work. The article is here, for the curious:
As "narcissist" becomes the catch-all insult of the social media age, here is the crucial difference between everyday selfishness and a seri
Most of my thoughts will come from ACOTAR and CC, as I've not read TOG yet - feel free to chime in with any thoughts on how it fits in the comments! I'm curious.
Anyway, without further ado. Let's begin.
“People with Narcissistic Personality Disorder see life as a vertical hierarchy,” leading American expert Elinor Greenburg says, “where the goal is to get as close to the top as possible. Everything is about status.”
One of my greatest pet peeves with SJM's works are around the portrayal of status and inequality. It isn't just that her protagonists end up rich - ACOTAR is essentially a billionaire romance with a fantasy coat of paint, and CC has most of its characters receive "considerable inheritances" or other such excuses to give them a lot of money. It's in everything.
Every relevant character is the Best and Most Awesome and Dangerous and Scary ever. A common tactic to discredit characters we're meant to dislike is to imply that they're fakey-fakers just trying to copy the "real" elite. E.g. as part of the demonisation of Tamlin, we learn that apparently all his fighting techniques are Illyrian techniques he learned from Rhys, and even his damn knives are suddenly of Illyrian make. Nowhere else in Prythian has ever made a knife, I guess. Amarantha, as well, is only copying the "real" atrocities of the Night Court.
Most egregiously, it's in the portrayals of conflict between the powerful elite and the oppressed masses, usually humans. How often do both ACOTAR and CC try to "both sides" their respective conflicts? Despite the situations being not even remotely close to a "both sides" situation? It's an element of the covert narcissist - victimising themselves in order to gain sympathy from their target (in this case, the audience). The poor, poor fae/Vanir, victimised by these evil, evil humans! Jurian tortured a fae woman, tortured her I say! And the human rebels killed some Vanir children one time! Weep! Weep for the oppressors! And yet, we get curiously little mention of the (significantly worse and more numerous) atrocities committed by the fae/Vanir side...
Both ACOTAR and CC make attempts to ingratiate their protagonists with the "lessers", primarily for cheap victim points (see above point about covert narcissists). Feyre with her family situation and living in poverty, Bryce with her half-human status. But it's clear the book doesn't *really* think they belong in that filthy class. The portrayals of poverty and class dynamics are laughable at best. In CC, Tharion is even "punished" by having to pick up rubbish! And having him whinge at the indignity of it! And it's *that* incident that makes him start thinking there needs to be a leadership change! Despite pretences to the contrary, it's clear the books think that such tasks are "unworthy" of their protagonists, despite how fundamental and important such things are in reality.
At best, The Poors are something protagonists can use (and discard) in order to make themselves look good, to pose with for cheap Good Person cred. Feyre when she's oh-so-generously handing out money (that she's conveniently just received a bottomless supply of) to the families in her village who are apparently Even Poorer than she was - families who were never mentioned even once when trying to build up Feyre's victim cred, note. Bryce does this as well, with her book setting up centrepiece moments for her to "fall to her knees" in grief at the plight of the Lesser humans, but having her not give a shit at any other time. Even going so far as to only even entertain the idea of helping the rebellion on the basis that she might be able to personally gain something out of it. The Poors are tools to be used, according to these books. The overwhelming majority of them never even get names!
An exaggerated sense of self-importance, preoccupation with fantasies of success, power and brilliance, a belief they are special, excessive need for admiration, sense of entitlement, pattern of taking advantage of others, a lack of empathy along with envy and arrogance are the criteria to look out for.
The criteria list is very interesting. It's painfully obvious to us how well it fits many of SJM's characters - Feyre puffing herself up about what an awesome High Lady she is, how she deserves to have the other High Lords (her alleged equals) bow to her, how she's such a brilliant spy, how she deserves to be calling the shots on running a nation and Tamlin is Wrong for suggesting otherwise, her complete inability to consider perspectives other than her own, etc, etc, etc.
But what makes it interesting is how the narratives will twist and contort themselves in an attempt to justify and make true some of the narcissistic delusions. Giving Feyre all of the High Lords' powers, for example. Or Bryce and her constant power-ups as the Super Awesome and Magical Starborn Princess, or however it went whenever the book wanted to be cute by lampshading it. All the faceless masses *do* fall on their knees in admiration; failure to do so is used as justification for all sorts of atrocities e.g. breaking multiple bones in Keir's body because he took Rhys's (carefully and deliberately crafted) bait and called Feyre a whore. Failure to think the Main Characters are the Greatest People Ever is a fault to be corrected, at best, and a one-way ticket to irredeemable villainy, at worst. The framing of the novels are a narcissist's wildest fantasies made manifest, in a world where literal god is on your side.
We all know about the balls-out, boasting, shiny, charismatic braggadocio of the overt or grandiose narcissist who creates stories and causes chaos and confusion. But vulnerable narcissists are a sub-species that can appear fragile and charming. This is a mask.
They are insidious and pernicious, says US psychologist Ramani Durvasula. “Quietly hostile, passive aggressive, sullen, brooding, victimised. A covert narcissist’s tactics only show up when there are no witnesses, apart from the victims.”
They can appear needy, brittle and dependent. “It draws us in,” Ferguson says. “It makes us want to help and protect them.”
But this is weaponised weakness. By getting people to feel sorry for them, covert narcissists are gathering the sympathy and support to isolate their victim.
Says Durvasula: “Covert narcissism is essentially a manipulation through victimhood.”
A long quote, but a telling one, because how often are SJM's characters making sure to play the victim for us? Probably the most egregious examples are the in-universe ones with Rhysand. He uses sob stories to dodge all sorts of responsibilities, from what he did to Feyre Under the Mountain, to the murdered Winter Court children, it's all classic DARVO to try and make the other characters (and the audience) feel sorry for him and therefore cow to his will (usually by dropping whatever thing they were trying to make him take accountability for).
But of course, it's not just him. Every character and their dog has an extremely traumatic backstory (no, really, Bryce's dog does too), to the point that it's kind of excessive. Said backstory is often the very first thing we learn about a character, in an attempt to prime us to feel sympathy for them regardless of what happens after this point. Our first chapter in Hunt's POV is a multi-page infodump of his Tragic Backstory. Feyre's first dinner with the Inner Circle is full of them positively tripping over each other to share details that make them sympathetic, and this continues in the chapters immediately afterwards as various characters tell her about the other characters' respective Tragedies. As if a sad past is a replacement for a personality (which we'll get to in a bit).
Also, note the specific use of the word "mask" in the quote. How often are the Night Court banging on about "masks" and how they "have" to use them?
Instead, [the narcissist was] studying you, learning how to become your perfect companion by mirroring your traits, mimicking your behaviours and flooding you with praise and admiration, says Robert, who also asked to use a pseudonym.
When the real person emerges it looks like this: “The gaslighting is constant. Mood swings and outbursts of anger are frequent. It is a cycle of highs and lows. The narcissist lives in chaos and confusion, and they need you to live in confusion as well,” Robert says.
The parallel between e.g. Rhysand's lip-service to Feyre's wants and the subsequent constant gaslighting is obvious. But I want to talk about it more on a meta level. Most of SJM's works pay lip-service to topical issues - feminism, gay relationships, abuse, class struggle, slavery, and so on and so forth. We all know they're poorly done, but that isn't really the point here. In a way, the narratives are making sure to provide a constant feed of things it assumes we want to hear, rather than establishing a consistent setting that the characters inhabit and are true to. Arranged marriage, for example, seems to be a staple for prominent persons in CC... but the characters are still complaining about it in a way that's very in-line with our modern views on the practice, that it's oppressive patriarchy at work and it's a girl-power thing to throw a fit about it. Even though it should be a normal thing in that world. But the book doesn't care about that; it's saying whatever it thinks it needs to to make us like it/its characters. It's also why it keeps insisting that e.g. Rhysand is such a feminist, despite all evidence to the contrary.
The gaslighting is obvious throughout the narratives. See everything concerning what happened UtM from MAF onwards, as an example. Or the slow appropriation of the human rebellion by the Vanir over the course of CC. But even the rest of that paragraph in the quote - mood swings, outbursts of anger, highs and lows, chaos and confusion - is honestly pretty representative of the style of narrative as a whole. Very little makes sense in a contiguous way. The book oscillates between self-congratulatory preening and self-righteous anger at the drop of a hat, performative emotions dismissed as soon as they're no longer needed. We're told whatever it thinks we need to be told to think how it wants us to think in the moment, and damn whatever came before. Motivations and plot points do not exist, they are merely tools to make us feel a certain way about the main characters, usually to get us on their side. And so on. E.g. CC expecting us to both be self-righteously angry over the mystics situation with the protagonists... but also on the protagonists' side when they're complaining Karen-style about how much the mystic service cost. People who are legitimately so horrified by the situation wouldn't use the service at all. But the book attempts to milk both kinds of angst from the situation, and cares not a whit that the two types don't really fit together. It's all in service of making the protagonists look like heroes, but also like victims. And on that note...
The covet narcissist will use “rat cunning”, she says, and go to any lengths to be in a dominant position, even if another person’s self-esteem is eroded to make them feel better.
“They create a new version of reality where they’re always the victim, the hero, or the innocent party,” she says.
Yeah. How often do we see this play out with Feyre and Rhysand? Rhysand essentially attempts to re-write everything from the first book in order to establish himself as the Selfless Hero who Sacrificed Himself and became Amarantha's Victim in order to save Everyone Else (read: only Velaris). How many elements in Feyre and Tamlin's relationship is appropriated and re-framed in a Feysand context? E.g. dancing with the will-o-wisps being replaced by Starfall, insisting Rhysand crawled for her but not Tamlin, even insinuating that Feyre and/or Rhysand were the ones who killed Amarantha, at times. Or when Rhysand is confronted about the Wonter Children, and tells us that a heretofore unmentioned and never spoken of again daemati is responsible, while he himself is an innocent victim (and isn't everyone else just such an asshole for assuming otherwise!).
Eroding someone's self-esteem to make themselves feel better is an almost verbatim description of what Cassian does to Nesta throughout their relationship. SF is devoted to tearing her down, so she can be rebuilt as he/the Inner Circle desire.
CC isn't safe from it either. Bryce and co often get stroppy about not receiving the treatment they think they are due for "helping" the rebels (e.g. insisting the rebels need to rescue the "valuable assets" that are Hunt and Ruhn from captivity), while completely ignoring all the times they've actively sabotaged the rebel efforts. Or when Bryce is telling us all about how it was So Hard for her to lie to her parents and dump them in Prythian as collateral for a bargain of dubious use beyond powering her up further - all without telling them! But damn if we aren't expected to feel sorry for her for "having" to make such a Difficult Choice.
The High Lord meeting is another interesting example, and shows the narrative warping itself to accommodate the narcissistic fantasies. Despite having absolutely zero reason to trust the Night Court, every other High Lord is immediately on board with the Tamlin Bad campaign, and spend most of the meeting bashing him and creating openings for the Night Court to look Better. All previous history the Night Court has established for itself is irrelevant - they are The Heroes now, and the book does not give a shit if it makes sense with anything else.
“They remove the context, erase the lead-up and cut out the things they did or said to push you over the edge,” Shaw says.
Suddenly you are presented as an unstable abuser.
“It is a clever, cruel trick,” says author Debbie Mirza. “They have effectively vanished from the crime scene they created, leaving you standing there holding the evidence of your own emotions.”
And this, I think, is very evident in a few places. Rhysand manipulating Feyre's (and the audience's) perceptions of the events UtM being the most prominent one. And the book helps him. Feyre's outfit during those events are not "the clothes Rhysand forced her to wear", but "the clothes she was made to wear Under the Mountain." Rhysand carefully admits to *some* wrongdoings, but is very careful to avoid acknowledging others - he'll admit (without apologising) that he made her drink the wine, for example, but never mentions any of the subsequent sexual assault. He reframes what he did as "protection", conveniently leaving out that the protection was only necessary because he dragged her out of her cell in the first place. And thus, when Feyre has any notions of maybe holding him accountable for that behaviour, she's instead twisted into feeling that she misunderstood him, and is thus Wronging him for daring to think he might have been anything less than a hero. All with a copious side-helping of Rhys attacking himself for being So Terrible - we're dealing with a covert narcissist here, after all. Baiting Feyre and the audience into wanting to comfort him and assure him that he's not terrible at all.
This same pattern is also very clear with Feyre and Tamlin. The book frames Tamlin as abusive, and Feyre as his victim (and using this to justify her later atrocities in Spring). But often, her own actions inform and exacerbate much of what goes on. More subconsciously in MAF, and then deliberately in WAR when she starts manipulating and baiting him. But returning to MAF, Feyre staunchly *refuses* to communicate with Tamlin for much of her time at Spring. She's upset when he buys her paints, but at no point has she communicated her new-found distaste for them to him, before or after the event. Instead, she resents him for not Just Knowing. Yes, Tamlin's explosion during that scene was not good, irrespective of whether he did it deliberately or as a result of a loss of control or whatever. But it doesn't change that Feyre is, unconsciously, setting up little tests (and only telling the readers about them) that are designed for him to fail. I don't remember which MAF post it was, specifically, but there's one where I listed a whole bunch of quotes from earlier in the book that show Feyre engaging in this avoidant behaviour, and blaming Tamlin for not being able to work out what she wanted anyway. This is a very common form of manipulation and abuse. It's not physical abuse like Tamlin's explosion. But it's also not about one-upping who was the Most Abusive. That's what the book wants us to be doing, and is precisely why it's framed things as it has - so that we see Feyre as the bigger victim in this situation, and thus overlook her own shitty behaviour. But all it really proves is that they were both abusive, just in different ways. The book points to Tamlin's overt behaviour and cries foul, when really, it's mostly just to distract us from Feyre's covert acts. I'd even go so far as to say that the bulk of her victimisation and suffering here is presented to us with the sole intention of smearing Tamlin, because most of it disappears *immediately* once she is in Night. Lucien's hair and flower petals trigger her, but not Mor's red dress? Okay, book. Okay. But speaking of smearing:
But if you expose a vulnerable narcissist and leave the relationship, the smear campaign can begin.
The demonisation of Tamlin is the prime example. The NC even shit talk him to the other High Lords before the meeting, classic smearing.
But it happens in more subtle narrative ways as well. How often are we told that Hewn City and Illyria are Evil and full of violent, sexist assholes before we get to see either place for ourselves? We learn all about Mor's Tragic Backstory in HC, and how Cassian and Azriel were abused by the Illyrians, long before we get to meet any of the people there and decide for ourselves. And the book is very careful not to show us too much of either place when we are there. The only named character from HC is Keir; the only named Illyrians I can remember are Devlon and Emerie. And most of the time, we're being "shown" behaviour that (the book thinks) "proves" its assertion about them. There is no room for nuance whatsoever. Only the smear campaign, conducted by both the book itself and its characters.
CC is not immune either. Pippa Spetsos, and the human rebellion more broadly, are victims of it. We're told that Pippa is insane and evil and is leaving strings of bodies behind her..... all well before there's even a shred of evidence to suggest that it's true. But, the book wants us to hate her, so that we cheer the protagonists on when they blow up the rebel base, instead of questioning why our alleged of-the-people heroes would do something that's so blatantly in line with the oppressors.
“I hate myself. But I am better than anyone else. I need to be better than everyone around me. My life feels like an act. I feel like a shell, a patchwork of traits that I stole from other people over the years. It feels like being dead, emotion is deeply uncomfortable and distressing. Emptiness is safe.”
This quote is from a diagnosed narcissist interviewed for the article. But it goes back to what I mentioned earlier about a lack of personality. We learn all about the (external) parts of a character's life that are meant to make us feel sorry for them..... but very little about who *they* actually are. External measures of suffering (verified as abusive by popular consensus) are being used as a replacement for an internal world. Many of SJM's scenes lack an emotional component when they would really, really need one - Feyre's re-enactment of UtM when they first visit HC is one of the most egregious offenders that springs to mind. We get very, very little from her about how she actually *feels* about the situation (apart from feeling horny). It's mostly her gushing about how awesome and selfless Rhys is - becoming an external validator for what the book wants us to think about him. Emotions are uncomfortable and distressing to narcissists. Thus, the book avoids writing about them deeply at all costs.
And it's very clear the book has no understanding of proportionality of emotion. The Rage at being wronged is absolute and all-consuming, no matter how minor the offence. Bryce "falls to her knees" in grief upon realising that human women were abused 15000 years ago (even though it's still going on, and she's allegedly aware of it, to this day). Feyre sits in the dead Summer faerie's blood until it goes ice cold, too numb from grief to even move, even though she didn't even know him. And so on. Aping genuine emotion, rather than considering how and why characters might feel the way they do.
And on the topic of being a "patchwork of traits stolen from other people." I already touched on how Rhys appropriates many of Feyre's scenes with Tamlin. But Tamlin's not the only victim of it. The first time we hear about wanting equality for lesser fae is from Tarquin - and wouldn't you know it, right after that Rhysand claims he's secretly wanted the same thing all along. Even though he was pretty noncommittal to Cassian's resentment of the Illyrians being considered "lesser fae" earlier...
And if we look at Rhysand's "inspiring" speech in WAR, it's all about how he's gotten things from the rest of the IC and become better because of it. Nothing about their own merits. Only the parts that serviced him. The fact that the book frames this as "inspiring" is very telling.
Many believe the more important question is whether the narcissist can even recognise that they need to change. Ferguson suggests that the reason NPD is rare is that so few make it to therapy in the first place.
Complete lack of self awareness is another common flaw in SJM's writing. Not understanding how the Night Court would come across to the other Courts is the obvious example. The book cannot conceive of how the Night Court could ever be perceived as in the wrong - it is blind to the faults that are so blatantly obvious to the rest of us.
“Many others joined in [the smear campaign], including my friends and even my own brother, spreading rumours, attacking my credibility. It was a coordinated effort to destroy my reputation.”
And this last quote is interesting to me, because it shows how far-reaching the impact of a narcissist can be. And I think this is part of the reason this fandom is in such a toxic state of division. In the same way that IRL narcissists cause fractions and divisions amongst real groups of people and turn them against each other, so too does the narcissistic writing in these books turn factions of the fandom against each other in kind.
So yeah, to sum all this up, I believe there is an inescapable narcissistic element to the writing of the books themselves, and this goes a long way to explaining many of its faults. Was this writing style a deliberate decision on SJM's part? Hard to say. And I don't know which answer is worse, tbh.
i honestly can’t get over how the book community is so obsessed with hating on audra winter, yet completely ignores the fact that everything they accuse her of is exactly what they praise SJM for.
If you want the readers to like your snarky ass MC, let the other characters match their energy. I'm not talking about romantic or flirty banters.
Since this blog is all about dragging SJM's works, here's your example.
Every girlboss moment of Feyre is actually her being an asshole because no one can take the spotlight from her. She wronged Spring, Summer, LoA but no one is allowed to question her.
Bryce is also an asshole but it's mellowed in the first book because Hunt, Tharion and Ruhn match her. Later on, they do it only when a third party is involved and the two band together to insult the third.
I'm not a misogynist for hating your FMCs, they are just horrible people with no substance.
With the New Year here, I’m sharing my wish list for the fandom. Last year, the conversation was dominated by ACOTAR and Crescent City endless debates, especially the Elucien vs. Elriel vs. Gwynriel discourse, think pieces, and long-overdue criticism. This year, it’s time to turn that same critical lens toward Throne of Glass. This isn’t hate for the sake of hate; it’s a call for change and more honest engagement. I don’t expect all of these points or even most of them to be embraced, but if even a third were taken seriously, the conversation around this series would be far more nuanced, accountable, and genuine.
1. I wish that in the New Year people would talk about Throne of Glass in a much more critical way, finally acknowledging how horribly written these books are, instead of insisting they’re somehow superior to ACOTAR or Crescent City. They aren’t. Throne of Glass suffers from many of the same writing and editing problems, and those issues persist well into the later books.
The problems are visible on a technical level: frequent punctuation errors, an overreliance on em dashes (—), and the constant recycling of expressions like “he/she purred,” “growled,” “hissed,” and “snarled” to describe character interactions. These quirks stop feeling stylistic and start feeling lazy.
There are also numerous continuity errors that read like “logic typos.” In Crown of Midnight, Celaena famously slices her left palm for a blood oath, yet in Heir of Fire some editions describe Maeve examining her right palm for the scar. In Kingdom of Ash, Lysandra is explicitly in ruk form, but the narration then describes someone sliding onto her leathery back, a trait of a wyvern, not a ruk.
On top of that, many readers have reported blatant typos, especially in newer box sets and digital editions. There are instances in Empire of Storms and Kingdom of Ash where characters are referred to by the wrong names (such as Elide being called “Marion” in narration). Some Kindle, versions reportedly use “foundering” instead of “floundering,” and there have even been cases of the author’s name being misspelled on physical box set covers.
Then there’s the excessive repetition of phrases like “she could have sworn,” “watery bowels,” and “clicked his teeth,” which appear so often they’ve become a running joke within the fandom.
If ACOTAR and Crescent City can be criticized, then Throne of Glass should not be treated as some untouchable masterpiece. Nostalgia and attachment don’t erase structural, editorial, and stylistic flaws and pretending otherwise doesn’t make the series stronger.
2. Enough with the Aelin worship! Aelin is a terrible protagonist, and I’m fed up with people calling her “the best FMC ever written”. The best FMCs take accountability and are defined by their flaws. Aelin, on the other hand, is constantly framed as a victim by the narrative, no matter what she does and it’s exhausting. If Feyre and Bryce can be criticized, then so can Aelin.
3. Stop with the Dorian idolization! Dorian Havilliard is a highly problematic love interest, and it needs to finally be adressed. Don’t come at me with “oh but he was thoughtful, he gave Celaena books, chocolate, and a puppy” when he repeatedly acted creepy toward her and openly sexualized her. Romantic gestures don’t erase unsettling behavior.
4. Rowan Whitethorn can be viewed as a mirror reflection of Rhysand. Rhysand never meaningfully addressed the oppression of Illyrian women within his own court, and Rowan likewise did nothing to challenge demi-fae discrimination. The text explicitly states that demi-fae are unwelcome in Fae cities such as Wendlyn and Doranelle unless they “prove themselves.” They are called half-breeds a term that unmistakably reads as a sl*r. Aelin herself is labeled a half-breed due to her demi-fae heritage by Remelle, Rowan’s ex-fiancée, in one of the Throne of Glass bonus chapters and Rowan does nothing. His anger only surfaces when Remelle suggests that Aelin should sleep with Lord Benson, one of Remelle’s friends.
Rowan is the Prince of Doranelle. He had both power and time to enact change, and he chose not to use either. Instead, he centers his own suffering, despite having served Maeve willingly long before the blood oath. It’s deeply hypocritical to relentlessly criticize Chaol (who is 22–24 years old) for failing to dismantle Adarlan’s oppression, while granting Rowan a free pass. Rowan is over 350 years old, an immortal with centuries of influence, and yet he is rarely held accountable for his inaction within his own kingdom.
5. Queen of Shadows is not a Rowaelin supremacy book. Sarah spends a significant amount of time trying to convince the readers that Rowan and Aelin are “equals,” while simultaneously writing Rowan as jealous, possessive, constantly hovering around Aelin, and asserting superiority.
6. Chaol never cheated on Nesryn. I’ve seen people claim that Tower of Dawn is a cheating storyline. Sorry to burst your bubble, but that’s not what happened. There is a bonus chapter set between Empire of Storms and Tower of Dawn in which Nesryn explicitly states that she expects nothing from Chaol. You can’t cheat on someone you are not in a relationship with.
7. Feyre had an emotional affair with Rhysand while being with Tamlin and Aelin treated Chaol the same way. In Crown of Midnight, Aelin admits that the thought of Dorian being with another woman makes her punch a wall. When she meets Archer, she immediately comments on how beautiful his face is. Sorry to disappoint you, but telling someone “I love you and I will always pick you” is not a breakup line. Then there’s Queen of Shadows: the golden nightgown is first mentioned in chapter 29. After that, Rowan explicitly says he doesn’t want an audience when he makes Aelin moan. These are not platonic interactions. Aelin and Chaol don’t get proper closure until chapter 65. So yeah, Aelin did cheated on Chaol.
8. Kaltain Rompier’s storyline is the definition of using s*xual assault as character development. Kaltain doesn’t change because others show her kindness or empathy, but because an “evil, ugly, fat” Duke Perrington brutalizes her. Her trauma exists to move the plot forward, not to explore her as a character.
9. The blood oath is a form of slavery in the TOG world, and Aelin has forced it on other characters. The narrative romanticizes it, but that doesn’t change the reality: Aelin is, canonically, a slave owner.
10. Just like ACOSF, Throne of Glass treats pregnancy in a deeply dehumanizing way. In TOG, witches are sold to bear Valg offspring, and their children are described as not witchlings, despite pregnancy being sacred within Ironteeth culture. Asterin Blackbeak exemplifies this dehumanization. She was once pregnant and had loved a human. Her baby was stillborn, when Blackbeak Matron responded with brutality, essentially burning the child without allowing Asterin to hold it, beating her, and branding her as a reminder of “shame.” Although Asterin is allowed to articulate her grief, the story is not about her; her trauma exists primarily to motivate Manon’s character arc and leadership decisions. Beyond Asterin, the unnamed Yellowlegs witches experience even worse treatment. Their names are never revealed, their perspectives never shown, and they vanish from the story after being incinerated along with their demonic children. These witches are not developed as characters but serve solely as plot devices: their suffering highlights the cruelty of the Duke and the King, creates conflict among the witches, and advances Manon’s narrative. Once that purpose is fulfilled, their pain disappears from the story entirely.
11. I wish people would stop pretending Throne of Glass is this deeply political fantasy series. Most of its “politics” function as aesthetic, the worldbuilding has no stakes and romance is consistently treated as the most important narrative priority.
12. I wish people would stop using “SJM wrote TOG when she was 16” as a shield against criticism. It’s not an excuse. Many authors wrote influential works at a young age: Christopher Paolini (Eragon, 15), S. E. Hinton (The Outsiders, 16), Mary Shelley (Frankenstein, 19), Gordon Korman (12). Their ages are never used to invalidate criticism of their books. When Throne of Glass was officially published, Sarah J. Maas was 26 and working with a traditional publisher. She had nearly a decade to revise and refine the manuscript, with access to professional editing and feedback.
13. Rowan and Aelin are not distant cousins. Aelin is related to Mab, Rowan to Mora; Mab and Mora are sisters, making Aelin and Rowan second cousins.
14. Just like ACOTAR’s Inner Circle, Aelin’s court is full of people who know nothing about ruling. Most of them are warriors with zero understanding of Terassens culture, let alone how to govern a kingdom.
15. I also wish people would stop insisting that Throne of Glass was meticulously planned simply because the original Queen of Glass draft exists online. The published series itself doesn’t support that claim. It’s clear that SJM did not plan for the story to unfold the way it did, let alone as a full 8-book series. The early books (Throne of Glass, Crown of Midnight, and The Assassin’s Blade) function as a relatively grounded assassin narrative. Midway through the series, the story abruptly transforms into a high-fantasy “lost heir reclaiming the throne” plot. Hinting that Celaena might be fae or demi-fae is not the same as setting her up as a secret monarch. The tonal and structural shifts suggest retrofitting, not long-term planning.
16. Using “pine and snow” from Book 1 as proof that Rowaelin was planned is meaningless when the text also strongly supports potential endgames with Chaol and Dorian. Early symbolism alone does not equal narrative inevitability.
17. The so-called Maasverse is largely a scam. Claims like “Tamlin is related to Aedion because they both treat women poorly” or “Rhysand is a Valg” rely on pattern recognition, not textual planning. The similarities exist because SJM rewrites the same story, not because of a masterfully planned shared universe. If this had been planned, the worldbuilding would be far more stable. FMCs losing best friends (Aelin - Nehemia, Bryce - Danika), villains like Maeve and Amarantha mirroring each other, and repeated torture scenes aren’t clever connections. They’re recycled tropes.
18. It's frustrating to see people insist that TOG excels in character development. If they really looked beyond it, they'd find that, when compared to classic literature, the characters in TOG come off as shallow, predictable, and emotionally redundant.
19. Dorian Havilliard bears responsibility for Adarlan’s sins, and fandom needs to stop giving him a free pass while vilifying Chaol. Saying you oppose slavery is not the same as taking action. Chaol, Aedion, Ren, and Nesryn actively resisted the regime. Dorian did not. He had opportunities (Crown of Midnight, Heir of Fire) and chose inaction. Participation in council meetings does not equal meaningful political leadership as proven by his failure with Rolfe in Empire of Storms.
20. The title King’s Champion was not invented by SJM. It originates from the medieval British office The King’s (or Queen’s) Champion, traditionally held by knights not assassins. Ironically, TOG is often mislabeled as medieval fantasy (blogspot/wordpress reviews) despite its Victorian inspirations and modernized elements.
21. Aelin Ashryver Whitethorn Galathynius is not some feminist icon. Claims that she would “destroy Rhysand” for how he treats Illyrian women or that she’d befriend Nesta are baseless. She victim-blamed Yrene, judged Ansel, vilified Lysandra for something Arobynn did, abandoned Lysandra after battle to hook up with Rowan, threatened Nesryn, tortured Manon despite her help, and repeatedly withheld critical information from allies. Her promised liberation of Eyllwe resulted in most slaves dying off-page. Her feminism is selective at best.
22. Rowan and the Cadre are not a model brotherhood. Rowan and Lorcan were tasked with physically punishing younger members. When Lorcan was branded a traitor, Gavriel and Fenrys hunted him with lethal intent. Fenrys’ blood oath to save Connall created resentment, not unity, and the Cadre knowingly allowed the twins’ abuse to continue. They even conveniently erased Vaughan from memory. This is not brotherhood but an institutionalized cruelty.
23. Dorian and Rowan didn't love Aelin fully and I'm tired of this bs. Dorian literally had issues with Celaena the assassin in Crown of Midnight and was disapointed that she wasn't wearing dresses anymore. He expressed in his pov how she seduced him in order to receive the title and then acted all surprised when Aelin didn't want to spent time with him. Rowan called Celaena “vicious and unyelding creature” in Queen of Shadows and would often show he's not a huge fan of her ruthless side despite popular claim that only Chaol feared Aelin's power.
24. Feyre’s friendship with Lucien is shallow and toxic in much the same way that Aelin and Dorian’s is. I’m tired of the whole “Aelin and Dorian are platonic soulmates” narrative. In Crown of Midnight, after Nehemia’s death, Dorian takes Aelin out to eat to make her smile again. In Queen of Shadows, Aelin claims she returned for him, only intending to kill him, but luckily, Nesryn told Chaol about everything and she was stopped. When Dorian was freed from Valg possession, Aelin never spoke to him about his trauma and instead left him to sleep with Manon. In Empire of Storms, she is openly nasty and dismissive about his relationship with Manon.
25. TOG characters are not some definition of found family. Aelin literally treats everyone like sidekicks with Dorian essentially being an outsider. If readers want a genuine portrayal of found family, Six of Crows does it far better.
26. Nesta serves as the narrative scapegoat in ACOTAR, just like Chaol does in TOG.
27. Rowan and Lyria’s marriage was deeply unhealthy. “Oh but he counted, days, weeks, month and centuries after her death” well no sir. Lyria feared him. Rowan even admitted she was not who he would have chosen for himself which gives us a clear message - dude was literally in a relationship with a women he didn't like and had to endure it despite the fact that he was the one who approached her first. He even said during smex with Aelin in Empire of Storms that “he was never with an equal” and even called Lyria “lie of a mate” in KoA. There are no Rowan x Lyria fan arts compared to the number of Sam x Aelin fan arts, which reflects a significant aspect of this fandom.
28. I wish people would stop with the nonsense of saying “oh, Sarah wrote Tower of Dawn for Chaol” every time someone mentions how she treats him the same way she treats Tamlin. By the time we got to Queen of Shadows, SJM had already sidelined him. The whole point of Tower of Dawn was merely to include some representation for Tog after SJM faced criticism for the absence of it. It's clear that Sarah only cares about characters with magical abilities; everyone without them is completely overlooked. To her, it seems like only her precious fae warrior Rowan, her witch Manon, and her phantom daddy Dorian matter. Chaol is just a background character despite the fact that she could have easily killed him off in Queen of Shadows.
29. I really wish people would stop insisting that Throne of Glass is better than ACOTAR just because of characters like Sam Cortland, Ilias from the Silent Assassin, and Nox Owen. These characters are side characters who barely played a role in the main story. Sam was introduced in a prequel and then killed off without much impact on the overarching narrative, apart from some occasional mentions. Ilias is another one who was kind of forgotten until Sarah J. Maas finally remembered he existed. And Nox? He was part of the competition in the first book and then just faded into obscurity. We have no idea what happened to him after that, and only in the later books does Sarah suddenly decide to reintroduce him.
30. I really wish people would stop claiming that TOG is filled with strong female characters when the only ones they ever acknowledge are Aelin, Lysandra, and Manon. It's so frustrating that the other characters get no appreciation at all. Take Sellene Whitethorn, for instance; she’s Rowan's cousin and plays a crucial role in EoS and KoA, yet there's barely any fanart of her. And Yrene? She single-handedly took down Erawan in Tower of Dawn, but hardly anyone ever talks about it. If it weren’t for Kaltain, the group wouldn't have even been able to get one of the keys. Nesryn Faliq played a crucial role in convincing the Khaganate to join Aelin’s war effort through diplomacy, cultural understanding, and political skill, yet her contribution is routinely ignored because her strength isn’t expressed through magic or spectacle. Sorscha's death is just brushed off like it’s some kind of joke in this fandom, and it's really infuriating.
“but the books are so much better-” look you couldn’t pay me enough money to read TMI. there is not enough money in the world to make anyone read six books full of clace nonsense. no way no how. “book Malec is-” let me stop you right there. I’m not interested in an unhealthy Malec version. they are not the blueprint. show Malec is. if anyone wants to torment someone, make them read a TMI book. it’s the worst punishment anyone could receive
"I was watching James Tullos video titled ''Pop Culture is Dead | A Court of Thorns and Roses, Twilight, Harry Potter'', and there was an interesting comment on romantasy that caught my eye.
