

As usual, the headline is pretty overstated. Yes, the AO3-to-Barnes-and-Noble pipeline is pretty well established at this point, but while that might be making FPP a heavy preference on BookTok for romantasy, I don’t think that’s spilling out into other areas of fiction.
Prokop maintains that while those complex themes can be explored in first person, off-loading narrative tension into an internal monologue has a way of flattening a romance narrative, hemming in the scope. “It limits the kind of stories you can tell,” she continued. “It’s a lot harder to keep a secret from a reader.”
I think this is a bit of personal bias on their part; FPP doesn’t have to be any less complex than TPP. The entire trope of the unreliable narrator is the POV of the reader, lying to the reader, as an example.
Prokop is especially weary of the clear-eyed mindfulness possessed by the wayward lovers that tends to populate first-person novels—how their acuities remain crystalline and sharp, as if touched by the divine, across the pages, in a way that requires almost too much suspension of disbelief, even for a genre that traffics in that suspension.
“All of the characters are nice. There’s a trope called the ‘Cinnamon Roll hero,’ and he’s just a good guy who wants the protagonist,” said Prokop.
I think this is a distinct issue that pops up in a lot of the same books, but isn’t intrinsically related. Fanfics are often self-insert fantasy, both by the author and for the readers (and I don’t mean ‘fantasy’ as in the genre, I mean it as in ‘wish-fulfillment’). FPP books are more popular in romantasy right now, and (sometimes overly-) ‘cozy’ stories with Mary Sue FMCs and no conflict are blowing up (or at least, I’m seeing more of them on shelves than I used to). But one doesn’t imply the other, they just happen to be correlated right now because I think they’re coming from the same pipeline, or being pushed by publishers when they might have been turned down before.
“The best first person has a strong narrative voice. The character is super distinctive. But if the books all sound the same—which a lot of them do—then that’s not great for the genre.”
This is just something that happens anytime there is an explosion of genre popularity; a bunch of new mediocre authors pop up in the space. Go read the late-90s to early-2000s Clive Cussler-esque action schlock that all popped up after Tom Clancy got big, and you’ll see the same thing. Or the Dan Brown-wannabe pseudo-religious-thriller books circa 2005.















I think Balrum or Elin.