In the classic Arthurian legend Sir Gwain and the Green Knight, the quest was finally over when the heroic knight had married an ugly old woman to get the answer to the question ‘What do women desire above all else?” (The answer was, ‘to govern their own lives’. In the video above, it is expressed as ‘their own way’, but self-governance is the point.)

In romance, which is mostly written by women, that answer is a given. The trick is to create a readable and believable story in which a desirable hero is prepared to be the heroine’s partner, rather than her owner — to let her, in other words, govern her own life. The journey is particularly fun if the story is set in a historical era or a culture where women are possessions and status symbols, but not really people. The journey is harder for some types of hero than others, but if the hero doesn’t make it to Gwain’s conclusion, the book’s a hurler for me (as in hurl it at the wall).

Here’s a version of the eight hero archetypes, and the challenges they face in accepting a partnership with their heroine. (Any given hero might have elements of more than one, of course, and if you look on the internet for hero archetypes, you’ll find lots of different sets.)

The king

This is the alpha hero, the leader. He’s in command. He looks after his own, which includes his entire family and the heroine. He hates making mistakes, can’t admit he’s wrong, won’t share, and is protective to the point of smothering. His challenge is to recognise that his mate is his equal, and that he needs to listen to her, and let her go into life’s battles at his side.

The bad boy

He’s the rebel, the crushed idealist who hates authority and fights for freedom: often only his own. He’s bitter and moody, but also charming and clever. His challenge is to accept himself as worthy of love, which makes him a romance favourite.

The best friend

The beta hero, and a nice responsible, decent, fellow. He doesn’t like to hurt people’s feelings, so he comes across as a bit of wimp, but he is dependable. He always puts others first. He’s practical and responsible. His challenge is to get the heroine to notice him, because he doesn’t have the confidence or the showy glamour of some of the other archetypes.

The lady’s man

Or the jester, or the playboy, or the rogue. He’s fun, but he’s not dependable. He avoids hard work, using his charm to slide into easy situations. His challenge is commitment, and also convincing the heroine that he’s able and willing to commit.

The recluse

This guy is secretive, brooding, and a loner. He’s also wounded and vulnerable. He’ll commit to the heroine, but he’ll never tell her because why should she be interested in an emotional disaster like him? His challenge is to let the heroine into his life far enough that he can discover how she feels about him.

The professor

On the surface, the professor seems cold and hard. He’s logical, introverted, and inflexible. He likes facts. One fact he isn’t too fond of is that he is in love with the heroine. Love means feelings, and he’s not good at feelings. His challenge is to accept that feelings — hers and his — are also facts, and that a lifetime without them isn’t going to be a lot of fun.

The swashbuckler

Who doesn’t love an action hero? The swashbuckler is daring and brave. He loves danger and adventure. He takes risks for the sheer fun of it. His challenges in fiction are often external — his adventures put him and the heroine in danger. He can rescue her, of course, but the danger of a lifelong commitment? Isn’t that a risk too far? Or might it just be life’s greatest adventure?

The protector

Our warrior hero is brave, noble, and relentless. He always sticks up for those who need his help, and he acts according to his conscience, not the rules. He wants to win, and fears being constricted. His challenge is to see his growing love for the heroine as an opportunity, not a prison.