There are many elements of fantasy that have been overused as time has gone on. A lack of originality can and will spoil a fantasy work if an author is not careful. Cliches can make fantasy fans feel like they are re-reading the same exact story.

This is why such emphasis is placed on the creative mastery of fantasy works.

Although not all fantasy cliches are bad, it is useful to be aware of these cliches in your own reading and writing pursuits. In this article, I will be sharing the most hated fantasy cliches as well as some tips to help shake these ideas up.

The most hated fantasy cliches are flawless protagonists that perpetually succeed, monotonous fantasy worlds that are built around the same medieval concepts, and having only one method of stopping the bad guys.

Like I mentioned before, not all fantasy cliches are bad. Nonetheless, the fantasy cliches listed above are universally looked down upon by the fantasy community.

Of course there are more hated fantasy cliches than just the ones listed above. But before we dive into all that, let us first remind ourselves of what exactly a cliche is.

Can You Remind Me What A Cliche Is Again?

To fully grasp the most hated fantasy cliches, it is necessary to understand what a cliche is. A short definition of cliche is provided below:

A cliche is defined as a concept or element incorporated into a creative work that is devoid of meaning due to overuse.

This is the definition we will be using to address the subsequent “most hated fantasy cliches.”

1.) Only One Way To Stop The Bad Guys

This is arguably the most hated fantasy cliche of them all.

In many fantasy novels, the protagonists are only able to cook up a singular, elaborate plan for the greater good to prevail. This scheme typically involves removing a single bad guy or destroying a distinct object.

This cliche may apply to the world of fantasy, but in reality there is always another way. It is uncommon to find only one means to resolve a problem in the actual world.

Fantasy authors tend to lean toward having one definitive means of defeating evil because it is easier on them to base the plot around a singular scheme.

Having multiple moving parts complicates matters. It is challenging to coordinate several plans in action to fit into a single story.

How to Change It Up:

Rather than focus on one solution that is the end all be all, an author should have several individual protagonists experiment with their own elaborate schema.

Think outside the box. Time and time again, readers hear the protagonists proclaim, “it is the only way.” How else can the bad guys be beaten?

Fantasy protagonists should explore a Plan A, B, C and so on! If certain schemes do not pan out, it grants more validity to the narrative. Plans do fail in real life.

As a fantasy reader, I would like to see less characters pursuing the exact same plan over and over. I would much rather enjoy seeing the protagonists adapt their plans to overcome.

Obviously, avoiding fantasy cliches is a lot easier said than done. You might incorporate a hated fantasy cliche into your work without even realizing it. For this reason, you should seek a professional editing service to help you take on this challenging task. The Scribendi team consists of professional editors that have invaluable experience developing book manuscripts. To submit your manuscript to this professional editing team, check out the Scribendi website here.

2.) Juvenile Crook Discovers Claim to Throne

Another overused cliche is the thief that comes upon a right to the throne. It is somewhat hard to believe that the identity of an heir to the throne would be simply forgotten.

Fantasy authors aim for this revelation to be a stunning plot twist. The problem is that the repetitive use of this story archetype has taken away from its original thrill.

Now, readers have come to expect a juvenile crook to have some extravagant supernatural capability or a long lost connection to royalty.

This abrupt change of character status takes away from the flow of the story. Although fantasy readers adore creativity, they also take a particular interest in the realistic aspects of a fantasy narrative.

A thief turned king is a tale that is a bit too good to be true.

How to Change It Up:

Maybe juvenile crooks can remain as juvenile crooks for once. Rather than awarding them some exorbitant prestige that causes them to abandon their old selves, why not explore the untold power of a thief?

A thief has the potential to be an indispensable protagonist in terms of their wit and their connections. Their street reputation contributes opportunities that would influence the story structure in ways that the “forgotten nobleman” never could.

Having a genuine thief around with no elements of royalty or magic reminds the reader that fantasy does not affect everything. It grants validity to the story.

Including bits of realism like a crook that gets by on cleverness and improvisation makes the narrative more relatable. This relatability compels the reader to invest in the narrative that much more.

3.) Callow Youth Bound for Glory

This cliche is especially prevalent in the young adult fantasy genre.

Fantasy writers recognized the relatability between young adult readers and an upcoming, inexperienced protagonists. They exploited this causal connection in the hopes of appealing to this specific demographic.

Unfortunately, they may have exploited this narrative a bit too much.

Now, it seems like nearly every primary protagonists is an ambitious, inexperienced youth looking to carve their way into the world.

They happen upon some delusion of grandeur and pursue this aspiration at all costs, fueled by hate and love. At this point, it feels like this story has been retold a thousand different ways.

How to Change It Up:

Instead of a callow protagonist looking to establish themselves in the world, why not explore an older protagonist seeking redemption?

Too many times in the fantasy genre the older generation is dismissed and neglected, never serving as the focal point of a fantasy narrative. Exploring someone other than a child or teenager, such as a seasoned veteran, may reap tremendous benefits.

Having an older protagonist may shut some doors of plot opportunity. Yet, writers forget that there will be a host of new plot opportunities that go along with an experienced protagonist as well.

Readers revel in new reading experiences. Offering the perspective of experience rather than inexperience would be a welcome change for a reader.

4.) Old, Decrepit Mentor

This cliche ties with the cliche listed above. A young protagonist is inevitably linked with inexperience. Think like a fantasy author for a second. If you wanted to accelerate the maturation process of this young protagonist, what would you do?

Exactly. You would probably pair them with an experienced mentor.

Thus, the old, decrepit mentor cliche was born. Authors painted the archetypical mentor as some senile, aged recluse that wants nothing to do with people.

These fantasy writers did not want to make the mentoring process easy on their young protagonists.

As a result, this trend caught on until the aged mentor became a staple of fantasy. Now all fantasy readers can picture when they hear the word “mentor” is a grizzled, old hermit.

How to Change It Up:

Mentors are an integral part of the fantasy genre for a reason. The problem with this cliche is that all the mentors in fantasy seem to be the same person.

To break away from this cliche, fantasy writers should describe mentors that are not elderly. There can be young and vibrant mentors too!

A mentor does not necessarily have to look and behave as though they are on the verge of death. Mentors can also be in the prime of their lives, accumulating enough battle scars at an early age to pass on useful knowledge to others. A mentor can be as simple as a friend.

The bottom line is that not all mentors have to be crotchety.

5.) Excessive Fantasy Jargon

Fantasy oriented language helps to facilitate the originality of the fictional world.

Fantastical names given to cities, mythical beings and characters set a certain precedent for a novel. Over time, fantasy writers have begun to take this concept over the top.

Authors made their names more lavish and flamboyant with the intention of establishing an unparalleled fantasy world. Writers have certainly distinguished their novels with this fantasy jargon, but for all the wrong reasons.

For instance, in The Black Jewel Series by Anne Bishop, there is a character named Daemon Saetan Sa’Diablo. Daemon Saetan Sa’Diablo!

I can understand trying to be inventive, however, names like these are considered more bizarre than creative.

How to Change It Up:

The best way to change up this fantasy cliche is to implement fictional vernacular in moderation.

Too much fantasy jargon and you start to irritate the reader. Not enough fantasy jargon and the descriptiveness of the world building starts to falter.

It is all about finding the happy medium between these two extrema that suits the reading audience.

Also, if you struggle to come up with creative fantasy names, there are a number of fantasy name generators you could use to get some ideas.

6.) Trouncing Professional Soldiers with Little to No Training

This fantasy cliche reigns supreme in the fantasy genre. It seems that fantasy protagonists only need a couple weeks of training to defeat bad guys who fight for a living.

This especially applies to the young, inept protagonists.

They throw themselves into duels with some of the worst evildoers in the fantasy realm and still prevail. It seems that all these characters need is a bit of prompting from another protagonists to unleash these hidden combat skills.

The problem with this cliche is that it takes away from the legitimacy of the story. It makes the good guys seem invincible.

If these characters are so overpowered that they are able to defeat combat experts with little to no experience, what is going to stop them in the latter sections of the story?

How to Change It Up:

Fantasy protagonists should fall to experienced adversaries, at least some of the time.

Good guys that show themselves to be mortal will not scare the reader away. If anything, a humbling defeat will stir the emotions of the reader. A book that incites genuine feeling will keep the reader coming back for more.

It does not matter whether these feelings are comprised of empathy or anger. Readers favor an emotional rollercoaster over the emotional plateau of indifference.

7.) Villains Labeled as Pure Evil Without Reason

We have all seen this before. The story introduces a villain with no motivation or logic to back it up. This person, or creature in some cases, has a fervent desire to watch the world burn.

This same logic can be applied to characters who are purely good without any backing. Pure good without reason can be just as repulsive as pure evil without reason.

What appeals most to readers is depth. Depth of the setting. Depth of the plot. Depth of the characters.

Readers do not want to connect with a story on the surface level. They want to fully immerse themselves into the imaginary universe that is fantasy.

Thus, readers are left disappointed when the motives and reasoning behind a villain are not revealed.

Authors gravitate toward labeling villains as utterly evil because it establishes a clear plot contrast of who to cheer for and against. It is easy for the author to write and the reader to comprehend.

How to Change It Up:

To shake things up, authors should take an alternative approach to describing their characters.

Pure evil and pure good is a simple, straightforward universal fantasy concept. What is much more complex is the blurring of the line between good and evil.

Rather than establishing a clear villain and a clear hero, why not introduce characters whose morals are in question? Why not mix the good with the bad?

The road less travelled on is a risky path. But with great risk comes great reward. Some of the best known fantasy books to date, such as A Song of Ice and Fire by George R.R. Martin, have implemented this concept and reaped the benefits.

The characters pursue personal ambition over morals, complicating the narrative tremendously but also elevating the suspense of the story tenfold.

8.) Predictable Love Interests

Fantasy novels are never really pure fantasy. Stories labeled as fantasy often incorporate other genres into the mix.

Romance almost always accompanies fantasy.

In these stories, the protagonist always seems to become infatuated with a person that lies beyond their reach. Despite the societal barriers dividing the couple, love prevails against all odds.

More often than not, the reader is able to see this romance happening from a mile away. Fantasy readers have heard this same drama again and again.

In fact, this is the archetypical story we heard as children. The ignorant, poor boy pursuing the noble, high princess.

Needless to say, it gets tiring hearing the same tale reiterated again and again.

How to Change It Up:

One possible option is to carry out some type of misdirection. An author should forego establishing a predictable love interest right off the bat.

Rather, an author could work off this archetype by describing a decoy love interest and then hitting the reader with a plot twist. Another character could swoop in and steal the love of the protagonist.

Another possible option is romantic tragedy.

This is a bit of a depressing option. A writer could kill off the possibility of love prevailing with an abrupt character death. This would certainly catch the reader unawares and provide a surge to the suspense of the novel.

The only drawback is that employing such a move could have massive implications on the plot. It would change up the cliche though!

9.) Prophecies that are Not Essential to the Plot

A dominant fantasy cliche is the utilization of a prophecy.

Prophecies can be well and good if used in the appropriate context. Nevertheless, these prophecies rarely serve a purpose in the grand scheme of things other than an obvious bit of foreshadowing.

When prophecies are incorporated in this way, they make the plot of the story extremely predictable. It ruins the suspense of the narrative when the reader knows what is coming next.

If prophecies do not fit cleanly into plot, I am of the opinion that these predictions should not be included at all.

How to Change It Up:

Prophecies do not always have to be fulfilled. One can deny a prophecy.

An author can play a mental game with the reader if they put this method into practice. An author can offer the reader a seemingly blatant bit of prophetical foreshadowing and then turn the tables completely.

Instilling a sense of uncertainty into the story will make the reader question the validity of every event and every plot twist thereafter. When things do not go as planned, readers will pay much more attention to the story in an effort to not get duped again.

Another avenue an author can experiment with is the will of characters seeking to force the prophecy into action. It brings up the query of whether foretold events occur because they were predicted or because they were actually meant to happen regardless.

Bold approaches like these that challenge cliches make for a better reading experience.

10.) Main Characters Experiencing Amnesia

Amnesia is a common means in fantasy to throw characters into bizarre predicaments. It can also be used as a means to redefine the nature of a character, acting as a reset of their morals and judgment.

The concept of amnesia has thoroughly worked itself into fantasy over time. At first, it was a unique and original way to transform the scenery of a story.

As time progressed, people began to label the use of amnesia as somewhat of a cop out for writers.

Rather than having to intricately characterize a new persona, writers simply thrust their new characters to the forefront of the novel via amnesia.

No meticulously explained background has to be provided with the implementation of amnesia. The whole draw of this concept is the mystery behind it.

Now, readers see through this archetype, which is why it has worked its way into this list of most hated fantasy cliches.

How to Change It Up:

As opposed to using amnesia, writers could make the extra effort to take the old fashioned route and provide a backstory for their new characters.

Although it may appear tedious, this extra work will pay dividends in the overall quality of the novel.

Iconic characters is one of the signature characteristics of the fantasy genre. The use of amnesia robs the reader of the rich origin story behind a character.

This makes it much more challenging for an author to break through and distinguish their work from others.

In short, amnesia is not the only unique way to introduce new characters. There are plenty of other options on the table for an author to grab the attention of the reader and install a fresh, dynamic persona into the story.

11.) Perpetual Success of Fantasy Heroes

Fantasy heroes are renowned for their uncanny ability to triumph even when they are backed into corner. No matter the odds, these fantasy heroes find a way to win.

Readers appreciate when the good guys win. Nonetheless, they do not want to see these heroes just waltz their way to success.

They want to witness these protagonists experience hardship and failure to earn victory the hard way. Conflict is a necessary component of any story, including fantasy.

Unfortunately, the cliche of heroes reigning victorious has had some adverse effects on the story structure of fantasy. Authors have been focusing all of their attention on to the success of fantasy heroes.

Consequently, not enough attention has been given to their failures to reach this success.

Fantasy writers are under a mistaken impression. They believe heroic failures will inevitably repulse their audience.

How to Change It Up:

This belief could not be further from the truth. By exposing the failures of fantasy heroes, the protagonists are revealed to be mortal. Nobody in the real world is perfect. Everyone has failures that they are not proud of.

Fantasy readers are able to relate to a protagonist that has admitted to failure. This cannot be said of an invincible fantasy hero on the other hand.

Readers want to experience empathy when they read fantasy. They want to be put in the shoes of fantasy heroes and experience whatever feelings their fictional heroes are experiencing.

This is not exclusive to the good moments. The bad moments inform the good ones.

Thus, writers should stray away from making their fantasy heroes invulnerable to failure. The destination to success is well and all, but it is the hard fought journey to get there that the reader wants to hear about.

12.) Monotonous World Building

World building is a distinguishing feature in the fantasy genre. However, one of the most hated fantasy cliches is how all fantasy worlds seem to adopt the same features.

When the fantasy genre was first coming into the spotlight, the medieval setting was fresh and original for readers. Now, it is commonplace for fantasy stories to revolve around a feudal context.

This medieval ambience incorporates the same mythical beings as well.

Elves, dwarves, and demons frequent the world building of fantasy. It has become rare for a fantasy writer to venture outside these bounds and attempt to design a mythical being on their own.

How to Change It Up:

Writers should attempt to implement some their own spin on these archetypical world building aspects. An unconventional, multicultural atmosphere captures the eye of the reader.

For instance, reforming the geography every so often provides a change of pace for the reader. The protagonists could journey from small villages in the grassy plains to imposing castles in the mountainous snowcaps.

Designing a new mythical species or an entirely different setting from scratch is a daunting task. But history favors the bold.

Writers should be willing to accept the challenge of producing a world that is unique and innovative to stand out from the competition.

13.) Enrollment in an Academic Magic Institution

It appears that fantasy protagonists are only able to learn magic in one of two ways: old, decrepit mentors or academic magic institutions.

We already discussed the old, decrepit mentor cliche. Now it is time to discuss the overuse of magic school.

Fantasy writers turn to magical institutions when they want their protagonists to hone their supernatural skills. All readers are familiar with academic settings. Thus, readers are able to rationalize the rapid boost in magical skill because of their familiarity with how school works.

These magical institutions tend to embody the same universal characteristics across the entirety of the fantasy genre.

There are “good” professors that favor the protagonist and “bad” professors that oppose the protagonist. Wealthy students are made out to be arrogant and self-centered whereas the poor students are made out to be the helpless underdogs.

There are certainly more petty cliches like this, however, I just wanted to mention the larger commonalities.

How to Change It Up:

Protagonists do not always need an external resource to fulfill their magical ability. Fantasy protagonists could learn through good old fashioned trial and error.

This process may be more arduous than having the protagonist learn as a student. Nonetheless, this self exploration opens up a world of opportunity when it comes to character development.

For instance, writers will be better equipped to reinforce the theme of individual versus self. The internal feelings of self doubt will be uncovered when the protagonist inevitably meets failure along the way.

Teaching oneself results in a variety of distinct obstacles and and a variety of unique benefits.

It ultimately comes down to what a writer prioritizes more: a quick turnaround of magical ability or a deep assessment of the internal workings of a character.

14.) Spontaneous Discovery of Magical Powers

Numerous times in fantasy works, the protagonist abruptly unearths a long hidden repertoire of magical skills.

This abrupt discovery typically emerges at the most convenient of times. For instance, when a loved one is on the verge of death or when the hero is being swarmed by enemies.

This fantasy cliche is a universal means of launching the development of a young protagonist. It marks the beginning of the long journey toward self actualization.

Rarely do we ever see a main character whose magical powers are already known and established.

Thus, readers have come to expect the main characters in a fantasy work to have some miraculous superpower stowed away for an emergency crisis.

How to Change It Up:

Fantasy novels should occasionally present the readers with characters who already know the extent of their magical prowess. With these powerful protagonists, the writer could throw a new wrench into the plot.

Rather than having the magical powers of the protagonist strengthen, their magical powers could weaken instead.

So many times fantasy novels revolve around the acquisition of power. It is a rare treat to witness how a protagonist responds to the loss of power.

Turning the tables like this would also reveal much of the raw character that drives the protagonist.

An author can explore the notion of whether the protagonist will crumble or prosper in the face of impending loss. A narrative that resembles this structure would be drastically different from the standard up and coming hero narrative that we are used to.

15.) Heroes Leaving Behind their Lover for the Final Battle

This fantasy cliche is the most puzzling of the bunch.

In fantasy narratives, we repeatedly see fantasy heroes battling alongside their love interest through thick and thin. The romantic couple teams up and journeys together for virtually the entire story.

Then, when all seems well and good, the hero leaves their love interest behind to tackle the final campaign alone. Next thing you know, the couple is left vulnerable when split apart.

One member of the couple is harmed, captured or worse, even killed.

The bottom line is that the reader knows in the back of their mind that something awful is going to happen to this romance. Separating from one another never seems to pan out in fantasy.

How to Change It Up:

Writers could stray away from this conventional narrative rather than follow suit. The couple could instead stay together and attack the climactic fight in tandem.

Splitting up the romantic couple prior to the ultimate clash is often a move that is out of character for the protagonist. After all, the protagonist typically struggles to acquire the love of their romantic interest for the entire story.

Why would the protagonist just abandon their romantic counterpart right before the final showdown?

Other than keeping with the consistency of the character, preserving the romantic duo also appeals to the satisfaction of the reader. Readers cherish the moments when the main protagonists take on conflict as a collective unit.

Witnessing their favorite characters work as a cohesive whole towards a singular goal is the pinnacle of the reading experience.

16.) Native Communities Patronizing Civilization

Another dominant fantasy cliche is native communities patronizing civilization.

Primitive communities are always made out to possess some sort of spiritual element that modern society lacks. Their way of life is perceived to be far more astute and enlightened than that of the technological world.

Where the flaws of modern society are put on full display, the flaws of native life are thoroughly concealed.

Both lifestyles have their strengths and weaknesses, but fantasy novels elect to bias themselves toward promoting the virtue of primordial society.

How to Change It Up:

The multidimensional perspective of both ways of life should be revealed to the reader. No one community should be left out to dry.

By providing the whole truth, the choice is left up to the reader to identify which society suits the fictional world better. No stone should be left unturned. The pros and cons of both societal systems should be explicitly described.

Leaving the decision in the hands of the reader promotes engagement. Leaning one way or another strips the reader of injecting their own thoughts into the matter.

At the end of the day, the more opportunities the reader has for interaction, the more likely the reader will commit to the story.

17.) Flawless Protagonists

Too often in fantasy we see protagonists that are perfect in every way. These characters are made out to be legendary, practically superhuman in every regard.

The problem with having a flawless protagonist is that it blocks the reader from having a real connection to the centerpiece of the story. How can a mortal relate to an immortal?

One of the primary features of solid characterization is identifying with the character.

A reader is unable to identify with a character if they are mentally and physically invulnerable. A protagonist must have evident pitfalls for the reader to relate to.

How to Change It Up:

This change is simple. Expose the flaws of the protagonist!

Making the weaknesses of a fantasy hero obvious is what makes these characters human. Readers have a strong desire to see their characters succeed.

However, if they succeed all the time it makes for an uninteresting story.

Thus, writers must identify the delicate dynamic balance between strengths and weakness in their heroes. Tipping the balance one way or another has the potential to alienate readers from the story.

There is no simple formula to discover this equilibrium. That is an answer that must be found through trial and error.