by Gabrielle Lund

Argue that the love triangle in The Hunger Games was unnecessary (and I’ll most likely agree with you.) Guffaw at the tension, both “sexual” and aggravating, of Edward and Bella as he refuses to turn the one girl he loves into a vampire (and I’ll probably wince at the memory of the writing in these scenes.) But do not disclaim their success. These books are all members of The New York Times Bestsellers’ List for a reason and it has little to do with their contrived plots. Stephanie Meyers and other YA authors have continuously proven that an idea which involves one girl, in a vulnerable, desperate situation (where she happens to look like the pretty girl next door, but not a model), and two guys (bloodsuckers or tributes fighting for their lives) who love her, will, nine times out of ten, fly off the shelves.

Now more than ever, authors of Young Adult Literature are writing books with a series in mind, knowing that publishers will be more likely to listen to their story ideas if they have continuations in the works, specifically in the genre of romance. Books such as the Matched trilogy by Ally Condie and the Divergent trilogy by Veronica Roth have proved fan favorites because of their 1) dystopian nature (the new vampire craze) and 2) their love triangles. While the first book in each series starts off with the premise of a girl in a dying world, searching for answers but finding love instead, before ending on a cliff hanger. The second book in each leans more on exposition and a chance for each of the main character’s love interests to show why the leading female should choose them. While sometimes this plot can be worked out to show growth in the main character, many authors seem to fall under the pressure of having the three books to tell their story and use the second book as filler before the big finale, and the reveal of whom the main girl chooses, in the third book.