The Ex Hex

While “romantic comedy” is more easily recognizable as a film genre, its literary presence and popularity has increased exponentially since the genre’s earliest appearances in the 20th century. As “rom-coms” became a viable film genre, the tropes, character types, and plot structures these films established profoundly affected the corresponding literary genre. By the mid-2000s, romantic comedies on the page and on the screen were nearly identical in their treatment of the genre’s major themes, so it can be useful for a reader to keep in mind the same generic conventions they might see gracing their screens. As both forms developed, the protagonists were no longer confined to “traditional” gender roles in their relationships.

The romantic comedy genre also expanded by incorporating elements from other popular genres, such as action/adventure, historical fiction, fantasy, horror, and science fiction. This new hybridity enabled romantic comedies to expand the range of conflicts that drive the plot forward. In the case of The Ex Hex, Vivi and Rhys’s romance is rekindled by magical problems and supernatural events. While romantic comedy is still the primary genre, the novel borrows from other genres to develop unique characters, push their relationships toward satisfying conclusions, and provide external conflicts and problems that require the protagonists’ collaboration to solve.

Ultimately, the main focus of a romantic comedy’s plot is the romantic leads’ developing relationship and how they overcome the obstacles that prevent them from being together. Typically, a romantic comedy begins with a “meet-cute,” where the two leads meet in a surprising, endearing way that makes them curious about each other, usually because their personalities are not immediately compatible. Often the story’s conflict is rooted in miscommunication or misunderstanding, but sometimes external forces work to keep them separated (a jealous ex-partner, parental disapproval, and so on). Inevitably, romantic comedies end happily, and this conclusion has roots in the comedic plays of William Shakespeare, nearly all of which end in one or more marriages.

Regarding the individual characters’ internal conflicts, the romantic comedy genre has a well-stocked arsenal of personal hurdles for its protagonists to overcome. A rom-com protagonist often begins in a position of feeling unfulfilled or feeling that something is missing from their lives. In The Ex Hex, Vivi begins the novel’s present-day events feeling disconnected from her “witchy” side, and her only significant relationships are familial. In an increasingly common departure from the genre’s typical form, The Ex Hex does not begin with Vivi and Rhys’s “meet-cute” and subsequent separation. The reader learns about these events as flashbacks within the present storyline.

As a result, the obstacle Vivi and Rhys must overcome to be together is not the event that caused their initial separation (Rhys’s betrothal to another woman, as arranged by his father); rather, their major obstacles are all rooted in internal conflicts. Vivi must embrace her “witchy” side, and Rhys must embrace his vulnerability. They collaborate to solve the novel’s external conflicts, and as their bond re-forms, the strength and support they share help them resolve their internal conflicts.

Typically, the resolution of a romantic comedy happens in a clear moment of epiphany—a sudden realization that changes how the characters see themselves and the world around them—that occurs after they overcome internal and external obstacles or antagonistic forces. Usually this realization is achieved by means of parallel narratives, whereby the reader can experience both romantic leads’ thoughts side-by-side. In The Ex Hex, however, the reader experiences only Vivi’s epiphany directly and is surprised by the revelation that Rhys reached the same conclusion privately.

In From Hollywood with Love: The Rise and Fall (and Rise Again) of the Romantic Comedy (2022), film scholar Scott Meslow offers his readers a compelling analysis of romantic comedy films, which one can also apply to literary romantic comedies. Meslow proposes a threefold set of criteria by which one can determine if a film or novel is a romantic comedy. First, the plot must be centered around a love story. Second, the story must make its viewer (or reader) laugh more than they cry. And third, if the love story were removed, the whole premise would collapse. In the case of The Ex Hex, Sterling’s novel checks all three of Meslow’s boxes. Vivi and Rhys’s love story is the plot’s central focus, and while there are some emotional scenes that tug on the heartstrings, the novel’s tone is steadfastly light and humorous. Finally, without Vivi and Rhys’s relationship, there is no occasion for the plot at all. Had they not met, there would be no hex, and therefore no consequences of the hex to bring them back together.

Regarding common tropes of the romantic comedy genre, Jason Hellerman lists a few of the most prominent ones found in film and literature: the eccentric best friend, exes who show up, the unexpected love interest, the near breakup, the grand gesture, and, of course, the happy ending. As the plot of The Ex Hex progresses, these major tropes are readily apparent. Gwyn is Vivi’s cousin and best friend, and she is at times quirky and eccentric. Rhys is the ex who shows up after a prolonged absence, and he and Vivi’s initial relationship exemplifies the unexpected love interest—their meet-cute at the summer solstice surprised both of them, as did the intensity of their connection. Rhys and Vivi nearly break up again when he leaves for Wales at the novel’s conclusion, but in a grand gesture to match Vivi’s own (saving Rhys’s life), he returns to Graves Glen for their happy ending.