Shauna McPhersonCITES: Young Adult LiteratureMarch 13, 2012G/T/I Paper

The Love Triangle in Young Adult Literature

When asked to think about a trend in young adult literature, I thought of what’s grabbed my students in the six years since I returned to teaching: the Twilight and the Hunger Games series. In these same years, no other series has approached the interest that these books have generated, particularly when considering their cross-over appeal: these series have caught the attention of honors students and reluctant readers, both younger and older teens, and—most interestingly—both boys and girls (They have also found success among adults.). Perhaps most importantly from an education standpoint, both series have managed to get students to discuss them, recommend them, and argue over them. When I considered one of the main traits of these two series, my topic was born: the love triangle. My interest in the love triangle was only reinforced as I looked at some of my own recent for-fun reading: the Stephanie Plum series and the Southern Witch series, both featuring a tough girl fighting bad guys and choosing between her two loyal men. The love triangle is also ubiquitous in recent TV shows and movies, such as “Vampire Diaries,” This Means War, Something Borrowed, and One for the Money. The idea that the love triangle is a current phenomenon—especially in young adult literature—was solidified when I came across Dr. Brenna Clark Grey’s “Top Five Signs You’re Reading Too Much Young Adult Literature” list; number two on the list was “You wonder how your relationship triangle is going to shake out. Will it be the moody, wild rebel who taught you about passion, or the sweet, gentle artist who taught you about love?”

So, after finding my topic, I thought about the love triangle. Why do love triangles interest us, and especially young adults? What purpose do they serve? I asked students at my school their thoughts, through two different surveys, given to a variety of students—honors, regular ed., and special ed. students, both male and female. I topped off my research with a few teacher and librarian surveys and a perusal of what online experts had to say—both credentialed and non. And I enjoyed the excuse of getting to read or re-read a few young adult love triangle sagas, in the name of research.

Defining the Love Triangle

Before exploring the love triangle, it seems important to define what it is. At its simplest, a love triangle is three people with relationship ties, some or all of which are romantic. Perhaps in the loosest sense of the word, love triangles can exist even if one "pairing" within the trio is comprised merely of a strong friendship, an unrequited crush, an expected relationship, or a former relationship where love is fading. But the most solid love triangles, in my opinion, have an “apex” person who is feeling romantic interest or attachment for two different prospects, both of whom return his/her interest. Additionally, some might define a love triangle as a series of relationships in which one person has a relationship with two others—be it friendship or romance—while the two potential mates are oblivious or nearly oblivious of the other. However, in my view, that feels more like a line or two circles—not a true triangle. To be a true triangle, the two potential mates (often two male suitors) have to interact. They might be friends, rivals, or brothers, and they have to see the

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other’s interactions with the apex person. Otherwise, the dynamic and drama is missing (and the apex person merely seems to be a cheater).

For the most part, the students surveyed agreed with my reasoning. For example, of 98 respondents, 91% said “a girl [who] is fought over by two boys, both of whom she’s attracted to” would constitute a love triangle while only 35% would count the following scenario as a love triangle: “A girl or guy has a relationship (flirting, perhaps kissing) with two people but they don’t know about each other.” Also, while students took the survey, I told them they could write any survey comments on the back. This last question generated a few written comments as well as some side-talk among the students. I read or overheard comments such as the following: “No, they’re a player”; “Just cheaters”; and “A love triangle isn’t an affair.” Concerning the awareness factor of all parties, they also said the following:

“How can it be a triangle unless the guys like each other too? There has to be a relationship there to be a triangle, right?”

“Everyone involved needs to be aware of all partners.” “[F]or a traditional/common triangle, all three participants have to know each other.”

When asked if the "apex" person had to have romantic interest in both potential mates, the students had mixed feelings, but definitely fewer of the respondents (one-third to one-half) defined scenarios that included friendship or unrequited love as love triangles, compared to scenarios in which love or attraction is felt by the apex toward two potential mates (and vice versa). (See Appendix A for the specific survey questions and scores.)

When thinking about the love triangle, I pondered if it is a more recent phenomenon. I also wondered if it’s more prevalent in young adult literature as compared to literature aimed at adults. But I soon thought of powerful love-triangle stories in history and literature. For example, Hephaestus-Aphrodite-Ares, Aphrodite-Adonis-Persephone, and Arthur-Guinevere-Lancelot are a few famous love triangles. Shakespeare employed the motif in many of his plays, often going past the triangle into “rectangles” or even more complex shapes. The Bible and history share accounts of kings involved with more than one partner. My guess is that women have often served as booty. And as long as humans have been around, complex and messy relationships have likely existed. So, while Twilight may have reinvigorated the love triangle for this current generation of young people, it is definitely not a new trope.

Why Does the Love Triangle Work?

The number one reason love triangles work in literature is that they add complications to the plot. As blogger/author Quinn says, “[T]hey promote conflict; we can’t make things too easy for our characters.” And this conflict is both external and internal. In responding to Quinn’s post, Kari Ann notes, “Along with outer conflict, it adds inner conflict for the MC [main character]. It's not just about their personalities, it's about who she accepts herself to be. Or perhaps who she chooses to be.” Author Aurora Lightbourne elaborates on what this conflict does to the story:

Putting in a triangle . . . provides an obstacle to overcome/contend with during the story line. Another layer to weave through the main plot. How does it affect their [the main characters’] judgment? Actions? Emotional stability? Will it be a distraction? A motivating force for good? Prove to be their undoing? There are so many variables to work with when you add in another player or two that it can make an otherwise bland storyline really pop.

Many of the students surveyed agreed. A few noted that love triangles have kept them reading and have added emotional conflict, action, and intensity to the story. A few mentioned being both annoyed and pulled in by the love triangle. It’s undeniable that the conflicts inherent in love

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triangles definitely add emotion and drama. They also often involve the audience in the decision-making as they weigh which potential mate they think is worthier. And, lately, this has led to classroom and water cooler discussion as people declare themselves “Team Jacob” or “Team Edward” or “Team Aniston” or “Team Jolie,” making our reading/watching even more enjoyable as it develops into a social event. Furthermore, since love triangles often rest upon the apex character not committing completely to either character, they are a fabulous mechanism for keeping the sexual tension high. As romance authors and TV sitcom writers know, once the actors finally commit (be it through sexual intercourse or engagement to marriage), the drama is drastically reduced.

Part of what makes love triangles so intriguing is the dynamic among all the characters involved. We often think that the triangle is about the apex person’s choice between the two options—and that definitely adds to the interest—but René Girard notes that “the most interesting side of the triangle is the line drawn between Option 1 and Option 2” (qtd. in Rutkoski). For example, in the Arthurian love triangle, “[t]hough we may be caught up in Arthur’s relationship with his wife, and her relationship with the hot young knight of the Round Table, a truly compelling narrative is the relationship between Arthur and Lancelot. The triangle ends up being as much about the love and strife between king and knight as it is about Gwenivere’s torn loyalties.” Author and teacher Marie Rutkoski continues: “This is why Twilight fans are so sucked into the famous ‘tent scene’ in Eclipse, where Bella, Jacob, and Edward are crammed into a small tent, with Bella hazily sleeping while the two guys talk it out. There’s a great delight in seeing how the two Options relate, under whatever terms . . . .” Illustrations, photos, and marketing for the stories—particularly when made into movies or TV shows—highlight this dramatic (and often sexualized) dynamic among all three characters. See Appendix B for photos that highlight this tension.

Another argument for why we enjoy love triangles is because we can relate to them. Lightbourne often adds a love triangle—or even “an octagon”—in her writing because, she explains, “isn’t that the way it usually works in real life? You like someone but they either don't notice you at all or are already interested in someone else?” Alvin Pam and Judith Pearson, authors of Splitting Up, agree: they contend that “most adults” have “wittingly or not” found themselves part of a love triangle at some point of their lives (149). Lightbourne argues that since readers can relate more, they are more emotionally invested in the story, and [i]f someone feels they have a stake in the lives of your characters they are more likely to finish, and enjoy, the book you have created.”

Why Does the Love Triangle Especially Speak to Young People?

While the love triangle is used in fiction for all audiences, why does it seem to especially appeal to teens? As teens deal with hormones, new life experiences, and the emotions of such, they likely find relevance in a book that includes a protagonist who is feeling topsy-turvy herself (or himself), pulled between two options. The love triangle can allow for angst, confusion, joy, and myriad emotions that a teen or young adult faces. Even if not a part of a love triangle themselves, teens may find catharsis in reading about someone facing difficult decisions that allow the character/reader to experience a gamut of emotions. Furthermore, as teens face many decisions in solidifying their identity and choosing a path in life, the love triangle may act as a symbol for some of these challenges.

In deciding between two potential mates, the apex person often is just as much deciding between directions in life—for example, choosing one partner may lead to wealth but an unknown life far away; choosing the other may allow for staying in one’s hometown and living with the already-known. Discussing Twilight, teacher and doctoral student Candence Malhiet Robillard

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argues that Bella is “faced with dichotomies.” Like many of our female students, Bella “feels the pull to choose education and career or raising a family. She can stay in Forks or she can go to college. She must choose Edward or Jacob. Becoming a vampire, though, releases these dichotomies and expands her choices infinitely.” While many (Robillard among them) argue that Edward is a controlling, obsessed partner and not an emotionally healthy choice for Bella, Robillard wonders if Bella’s choice of Edward may actually open Bella’s life choices. She postulates: “If we view Bella in this manner, then maybe her choice, her taking control of her own future, is the compelling component to this series. It’s not hard to imagine, by the end of the series, that perhaps Bella has fallen in love so quickly with Edward because he is the gateway to her destiny.” She becomes immortal, healthy, graceful, etc. “She certainly is a better vampire than human . . . .” Robillard adds, “And let’s face it, as a member of the practically immortal un-dead, Bella can attend college dozens of times.”

Beyond these issues of choices and identity, another reason love triangles may find an audience among young people is that they are often competitive in nature. Two people are vying for the prize of the apex person’s affections. Like any competition, this allows for strategy, pain, and triumph. This dynamic may interest teens who otherwise wouldn’t identify themselves as romance readers. Furthermore, it may pull in teens who often find themselves in competitive friendships or sibling relationships.

The last reason I think love triangles appeal to teens is that they fulfill people’s—especially girls’—fantasy of being intensely wanted (even fought over). What teen doesn’t enjoy the imaginary scenario where he/she is at the center of a competitive war, where he/she is the prize? This must particularly appeal to those who sometimes feel like it is hard to find a date, or even someone to eat with at lunch. According to Robert Cormier, “[W]e are all pretty much alone in life, particularly in adolescence” (qtd. in Quotes N Sayings). With pressures on teens, it makes sense that part of teens’ escapist fiction spotlights a protagonist—a protagonist they can identify with—as one who is intensely wanted by two mates, often partners where at least one represents the apex of popularity, wealth, fame, strength, and/or beauty.

Why Do More Love Triangles Have a Girl at the Center?

In examining love triangles, it was interesting to realize that most of them have a girl at the center, or apex. Students agreed with this characterization. In fact, a few students didn’t even identify it as a love triangle if the guy was fought over by two girls rather than the more typical opposite dynamic (83 yes, 15 no answers in the first scenario; 89 yes, 9 no in the second, with the girl at center). And when asked to identify a love triangle with one guy and two girls, 60% of the 2121 surveyed could not think of one. The 40% who could usually only mentioned one example, many of which were repeated (such as Harry Potter and Shakespeare). A few overheard student comments expressed

their discomfort with a triangle with a young man at the center. One student said, “If a guy was with two girls . . . that would be weird . . . he’d be a player. . . . Technically, it’s the same but it’s weird.” Another said, “I can think of some in real life [guys at the point] but not any in literature.” So why is the girl most often the point? The students and I agreed on several possible reasons for

1 I gave two different surveys; one had 98 respondents, the other had 212. Surveys and some of the responses are included in the appendices.

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this: 1) There are more female readers of fiction and likely more female YA authors; 2) There is more societal acceptance of a girl deciding between (and perhaps stringing along) two guys as compared to a guy doing the same; 3) Society is used to imagining the woman being pursued or passive and the male as pursuer; 4) A triangle that forces (or allows for) males to compete fits our ideas of the male psyche; and 5) A female is assumed to be too insecure to continue fighting for a male who doesn’t quickly declare her the “winner.” Eric Berne, author of Games People Play, said the psychology is “essential feminine”; he termed the competitive nature of the love triangle as “Let’s You and Him Fight.” He discusses this “mind game” as a real element in our society and a basis of much of our literature, both good and bad (qtd. in “Love Triangle”). The following are a few written comments from the student surveys concerning why love triangles often have the female protagonist as the apex of the triangle:

“Novels target girls, and it makes them feel empowered.” “Because it’s more interesting when men try and kill each other [rather] than girls.” “[M]ore acceptable . . . one guy with two girls is considered a ‘player.’” “Cause it is ultimately the girls’ choice to accept or deny a relationship with a guy.” “Often it is because the two guys have a battle of masculinity of sorts against each other.” “Cuz that’s what happens more in real life.” “Because girls are indecisive and it just makes the guy look like a jerk.” “Because girls . . . usually have a hard time discerning their feelings and choosing. Guys

tend to be happy with the one thing they have.” “Because it’s not socially acceptable for a guy to lead on girls, but okay for girls to.” “’Cause men are hunters, women are gatherers.”

Note: One of the most interesting responses to this question—and one that came up more than once—was simply “Twilight.” I don’t know if the students simply meant Twilight does this, or if they meant Twilight jump-started this phenomenon, but they definitely connect Twilight to the love triangle trope in today’s fiction.

As mentioned, one aspect of having a female apex is the competitive relationship between the male prospective partners. Sometimes the competition is so fierce that the girl becomes merely a sign of the victory rather than the true aim. Girard says, in these cases, it’s not fair to blame the quarrel on the woman—she is actually the men’s common scapegoat. Many books definitely play up this male relationship and sense of competition. Often the two male love interests are brothers, best friends, or longstanding rivals. The female is a toy tugged back and forth between the two. For example, in Jennifer Echols’s The Boys Next Door the protagonist accuses one love interest:

“You don’t love me . . . You’re competing with Sean. Maybe you’ve even convinced yourself you love me, but it all comes back to Sean” (204-205). In another scene, Sean reveals that he only began flirting with Lori because Adam looked like he might like her “[s]o I figured I’d push his buttons” (232). The original cover of the book even shows the protagonist, Lori, in the foreground with the two brothers in the background wrestling over a life preserver2. In other books, instead of being a prize of competition, the girl actually becomes the sacrificed object to show one brother’s love for another. In The Forest of Hands and Teeth, Travis reveals that he didn’t show his interest “Because you were Harry’s.” When Mary says, “Not always,” Travis counters with “Always in his eyes” (223) and that was enough for him to sacrifice his own interest for most of

2 While the competition is usually among males, there are some love triangle books that highlight female competitiveness as well. For example, in Jennifer Echols’s The One That I Want, a catty best friend takes the guy that her friend is interested in. When the protagonist discovers her friend’s duplicity, the guy nearly won’t get together with her, because he believes she cares more about her anger with her “friend” than having a real interest in him.

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his life. In a true-life example, my older brother would not ever ask out a girl, even if he was interested, if any of his friends or brothers had previously shown interest in her. In fact, he nearly didn’t ask out his future wife because he thought she had been asked out by one of his roommates. So whether prize or sacrifice, the boy-girl relationship is subordinate to an elevated male-male relationship.

Why is the Love Triangle a Part of Recent Dystopian YA Literature?

While it is undeniable that love triangles make up much YA fiction, especially with romance and paranormal fantasy, it’s interesting to realize that a lot of recent3 hits have merged dystopian/sci-fi writing with the love triangle. The Hunger Games trilogy, the Maze Runner trilogy, and Matched all fit this category and include a love triangle. Twilight is arguably dystopian (although it fits the paranormal romance label as well). I Am Number Four, The Forest of Hands and Teeth, the Tomorrow series, and Pandemonium are a few other recent (or relatively recent) YA hits that combine dystopian tropes with love triangles. (In fact, my school’s most-checked out books have 7 of 9 fitting with this set of dystopian/love triangle series, and 80% of the students surveyed had read at least one of the following: Twilight, Hunger Games, Matched, Maze Runner, or The Forest of Hands and Teeth.) When asked if the love triangle component added or detracted from the story, the majority said it added: 76% of females and 59% of males said it added (and 4.6% didn’t respond). So why the merging between love and the end of the world? I wonder if the relationship angle pulls in some (particularly girls) who might otherwise be reluctant to pick up sci-fi/dystopian literature. And, conversely, perhaps it’s acceptable to include a relationship angle even for boys if it’s submerged in a fight-for-one’s-life story. Another reason love triangles might function in dystopian literature is that the choices that come with love triangles (choosing the powerful partner or the everyday one, choosing the fighter or lover) become even more stark or consequential in light of the dystopian chaos that surrounds them. The drama and choice is intensified. For example, in The Forest of Hands and Teeth, Travis, the main male love interest, wants to protect the female protagonist and keep her from heading to the ocean, the place that most represents her hope for a new life but that also represents risk and danger. He tells her “I was hoping I would be enough” (255), and he asks her, “Would you have given up the ocean for me?” (258)—a question for which she has no answer. These intense choices and the danger of dystopian novels especially allow for characters to show their love and sacrifice. For example, in a slightly earlier scene in The Forest of Hands and Teeth, Travis tells Mary, “A part of me wanted to die at the moment. To switch places with you so that you would survive, so that you would make it” (252). In addition to adding drama, perhaps love relationship(s) in dystopian literature are partially utilized to offset the bleakness and violence that often pervades such stories. They may represent hope or new life with the coming union.

Conclusion: The Good, the Bad, the Ugly

3 As to if this is a recent phenomenon, I’m not sure. When I think back to the sci-fi I read as a youth (Ender’s Game, Z for Zachariah, The Silver Crown, Dune, A Wrinkle in Time), it certainly doesn’t seem to include love triangles, but I haven’t made a comprehensive study of the literature over the last 20-30 years to know if my instinct is correct.

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With the inherent tensions and drama with love triangles, it’s hard to pin down what aspects of them are enjoyable and which are annoying. In fact, in tallying surveys, it was sometimes difficult to determine where students stood on love triangles because their answers sometimes said, “I love them but they’re so frustrating” or “It pulled me in but it was annoying.” This could mean that the very aspects that attract readers to love triangles sometimes repel them. One factor is that many are frustrated with characters’ (and authors’) decisions about who the protagonist chooses. For example, 80% of those surveyed said they were bothered or frustrated by “feeling like the writer or director is wrong about who ultimately should end up with the main character” and 66% said they were bothered or frustrated about “being indecisive (or going back and forth) about which of the two love interests is better for the main character.” (For a full view of the survey and the results that have been tallied, see Appendix C.) While bothersome, the dynamic certainly seems to make readers interact with the story. When questioned, other issues that bothered a majority of students surveyed included guilt over the protagonist’s behavior (with being unfaithful or stringing someone along); concern about resolving the situation for all involved; and a sense of mourning or loss with the resolution. Indeed, “[w]hatever genders are involved, there is usually a lot of angst and even a sense of mourning— . . . even if the The One is chosen, it will not be without cost. As the Runner-Up exits stage left, the Judge of the triangle should feel deeply that s/he’s losing something forever” (Rutkoski). And even though frustrating, these are likely good lessons for teens: that our choices have consequences. That our “soul mate” likely doesn’t exist—that not all we want is always available in one person. Instead, young readers may learn that as we make choices and open doors, others doors close behind us. Indeed, as Curry argues, young adult literature is “able to offer young adults a safe place to explore and ‘develop wisdom about unsettling and possibly dangerous activities’ they might face in the real world” (qtd. in O’Bannion). Perhaps it’s not a vampire or werewolf decision for most of us, but it’s often a decision about values and life choices, a decision of which path to take.

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Works Cited

Echols, Jennifer. The Boys Next Door. [Repackaged with Endless Summer, with title as Endless Summer.] New York: Simon Pulse, 2010. Print.

---. The One That I Want. New York: Simon Pulse, 2012. Print [in Kindle for Android phone form].

Grey, Brenna Clark. “Top Five Signs You’re Reading Too Much Young Adult Literature.” Bookriot.com. 18 Nov. 2011. Web. 5 Feb. 2012.

Lightbourne, Aurora [guest post]. Bookish Delights. 6 Oct. 2011. Web. 5 Feb. 2012.

“Love Triangle.” Wikipedia.org. Web. 5 Feb. 2012.

O’Bannion, Colette Marie. “Naughty or Not? Exploring Controversial Content and Core Universal Themes in Contemporary Young Adult Literature. Diss. Chapman U, 2010. DAI 71/04. Gradworks.umi.com. Web. 12 Mar. 2012.

Pam, Alvin, and Judith Pearson. Splitting Up: Enmeshment and Estrangement in the Process of Divorce. New York: Guilford P, 1998. Print.

Quinn. “The Thing with Love Triangles.” Seeing, Dreaming . . . Writing. 16 Dec. 2010. Web. 5 Feb. 2012.

Quotes N Sayings. [Search term: “Teen Quotes”] Web. 12 Mar. 2012.

Robillard, Candence Malhiet. “Hopelessly Devoted: What Twilight Reveals about Love and Obsession.” The ALAN Review 37.1 (Fall 2009): n. pag. Web. 6 Feb. 2012.

Rutkoski, Marie. “Bizarre Love Triangles.” Tor.com. 30 Apr. 2010. Web. 6 Feb. 2012.

Ryan, Carrie. The Forest of Hands and Teeth. New York: Delacorte P, 2009. Print.

[Note: Images were found through “google images” search and were not credited.]

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Appendix A: 1st Survey (Definitions/Scenarios) & Results, 98 Students Surveyed

A2 (AP), 28 students

A3 (AP),28 students

A4 (AP),28 students

Study Skills (mix/honors),14 students

Total,98 students

1. A girl is fought over by two boys, both of whom she’s attracted to.

Yes: 27No: 1

Yes: 25No: 3

Yes: 25No: 3

Yes: 12No: 2

Yes: 89 (91%)No: 9 (9%)

2. A guy is fought over by two girls, both of whom he’s attracted to.

Yes: 23No: 5

Yes: 24No: 4

Yes: 24No: 4

Yes: 12No: 2

Yes: 83 (85%)No: 15 (15%)

3. A girl or guy has a relationship (flirting, perhaps kissing) with two people but they don’t know about each other.

Yes: 10No: 18

Yes: 7No: 21

Yes: 12No: 16

Yes: 5No: 9

Yes: 34 (35%)No: 64 (65%)

4. A girl or guy has a relationship (flirting, perhaps kissing) with two people and only one of the two knows that the main character is interested in both of them.

Yes: 16No: 12

Yes: 13 No: 15

Yes: 13No: 15

Yes: 10No: 4

Yes: 52 (53%)No: 46 (47%)

5. A guy or girl is dating someone but also has a friend of the opposite sex who has a crush on her/him. He/she is unaware of the crush.

Yes: 14No: 14

Yes: 17No: 11

Yes: 17No: 11

Yes: 6No: 8

Yes: 54 (55%)No: 44 (45%)

6. A girl or guy is dating someone but also has a friend of the opposite sex who has a crush on her/him. He/she is unaware for most of the book but eventually chooses the friend romantically instead of the boyfriend/girlfriend.

Yes: 22No: 6

Yes: 21 No: 7

Yes: 23No: 5

Yes: 10No: 4

Yes: 76 (78%)No: 22 (22%)

7. A girl or guy is dating someone but also has a friend of the opposite

Yes: 12No: 16

Yes: 16 No: 12

Yes: 6No: 22

Yes: 3No: 11

Yes: 37 (38%)No: 61

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sex who has a crush on her/him. She/he is aware but not interested in being more than friends.

(62%)

8. The main character is matched up with someone that he/she doesn’t like or no longer likes and he/she has romantic feelings and interactions with someone else.

Yes: 12No: 16

Yes: 13 No: 15

Yes: 12No: 16

Yes: 6No: 8

Yes: 43 (44%)No: 55 (56%)

Written Comments: With #1 & 2, they are an angle. With #3, someone in A3 who voted “no” wrote “They’re a player.” With #3, someone in A3 who vote “no” wrote “sorta.” With #3 & 4, someone in A4 who voted “no” wrote “Love triangle isn’t an affair.” With #3 & 4, someone in A4 who voted “no” wrote “just cheaters.” With #3 & 4, someone in A4 who voted “no” wrote “When it’s physical stuff, it’s not really

a love triangle, it’s just stupid.” “Regardless of awareness, there is a triangle of conflict.” (A2) “I feel like a love triangle is defined by 3 people, whatever situation they may be in, who all

hold some sort of romantic feelings for someone in the triangle.” (A2) “Technically, they’re all love triangles. But I feel like for a traditional/common triangle, all

three participants have to know each other.” (A3) “Everyone involved needs to be aware of all partners.” (A4)

Spoken Comments:During the survey, there were some interesting comments and discussion going on. I overhead (and recorded) the following:

In A2Caleb: “If a guy was with two girls . . . that would be weird. If a guy had two girls, he’d be a player.”Someone else said: “It can happen . . . you’re living proof.” (I think she or he was joking.)Caleb or someone else: “Technically, it’s the same but it’s weird.”

James: [on why it’s often two men in the triangle] “’cause men are hunters, women are gatherers. We get one in our scopes . . .”

Jake L.: “I wouldn’t feel guilty [on being involved with two girls]; I’m not married or engaged. If you’re not married or engaged, it’s free game.”

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In A3David: “What? Kissing two people and they don’t know . . .?”Ashley: “So it’s a player.”

In A4Conversation among 3-4 people.“‘A’ no, ‘B’ yes . . . just kidding.”“It doesn’t have to be . . . it could go either way.”“I can’t think of any with guys at the point of the triangle.”“Girls are usually the point.”“I can think of some in real life [guys at the point] but not any in literature.”

Kylee?: “Girls could be fought over too.”

Cole: “How can it be a triangle unless the guys like each other too? There has to be a relationship there to be a triangle, right?”

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Appendix B: Illustrations of the Love Triangle—a Dramatic and Sexual Tangle

From Top to Bottom (left to right): Sawyer-Kate-Jack of “Lost”; Peeta-Katniss-Gale of Hunger Games; Jake-Bella-Edward of Twilight (and next two as well); Stefan-Elena-Damon in “The Vampire Diaries”; Eric-Sookie-Bill in Southern Vampire Mysteries/“True Blood.” All pictures found through Google Images searches. (The only photo that was credited was the Hunger Games picture, which came from a 2 Nov. 2012 Vanity Fair layout, by photographer Sam Jones.)

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Appendix C: Primary Survey

Note: This is the survey that most of the students (about 210) took. Students surveyed are current members of English classes at Lone Peak High School from six different teachers. There was a mix of honors, general ed., and resource/special ed. students. Since that point, nearly another 100 general ed. and special ed. surveys have come in that I have not yet added to the original tally.

S U R V E YThank you for being willing to answer this survey! I am trying to gather a teen perspective for some research I’m doing for a young adult literature class I’m taking. The survey will be anonymous, so don’t write your name on it.

1. How often do you read from a book, magazine, or newspaper that’s not assigned by school?

2. What types of things do you most often read? (i.e, adventure, fantasy, book on cars, romance, graphic novels, magazine on fashion, etc.)

3. At a guess, how many books do you read a year (not including those assigned for school)?

4. Why do you think love triangles are often a part of books or movies, especially those with teen and young adult audiences (i.e., Twilight, Hunger Games, Matched, The Maze Runner trilogy, “Lost,” “The Walking Dead,” This Means War)?

5. What do you like about love triangles (if anything)?

6. What bothers you about love triangles (if anything)?

7. Can you think of any love triangles based on one guy with two girls? (If so, list them.)

8. Why do you think there are more love triangles in literature and movies based on one girl and two guys rather than one guy with two girls?

9. Have you read Twilight, Hunger Games, Matched, The Maze Runner (trilogy—mostly book 3), or The Forest of Hands and Teeth?

10. If you answered yes to #9, did the love triangle add to your interest in the story or distract from it/frustrate you? Explain.

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11. The following are issues related with love triangles (whether in books or movies). For each statement, mark the smiley face next to the item if you like this aspect of love triangles (or appreciate/enjoy this complication). Mark the frowny face next to the item if this aspect of love triangles bothers or frustrates you. A. Feeling like the main character is being unfaithful to one character as she/he flirts with

or considers the other love interestB. Worrying about what will happen to Character B when the main character finally

commits to Character A completelyC. Worrying about the main character’s lingering feelings for the character he/she doesn’t

ultimately choose, leading to a lack of fulfilling resolution for the main characterD. Being forced to face the fact that there might not be one perfect soul mate but aspects of

what we’re attracted to within different peopleE. Realizing that a choice for one person has consequences—and doors are open and shut

based on this decision (for example, the main character might go up or down in wealth, status, ability to stay in touch with home and family, ability to choose a career, etc.)

F. Being indecisive (or going back and forth) about which of the two love interests is better for the main character

G. Feeling like the writer or director is wrong about who ultimately should end up with the main character

H. Other? (Or you can use this space to explain 1-2 of your above answers, if you wish.)

12. Are you male or female? A) male B) female

13. What grade are you in? A) 10thB) 11th C) 12th D) I’m a teacher. E) I’m a librarian.

14. Any addition comments/insights?

Thank you again for your help! If you are interested in the survey results and my report, check back with me, Ms. McPherson, in a week or two. (I might also post info. on my school blog.)

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Appendix D: Survey Results

Note: Much of the survey required me to record individual responses for each question (which I have done for most of the survey). The main tally section of this survey occurred with question #11, and the results are shown below.

The following are issues related with love triangles (whether in books or movies). For each statement, mark the smiley face next to the item if you like this aspect of love triangles (or appreciate/enjoy this complication). Mark the frowny face next to the item if this aspect of love triangles bothers or frustrates you.

I. Feeling like the main character is being unfaithful to one character as she/he flirts with or considers the other love interest Felix/honors 18; 75 (93); Jaynes/honors 14; 74 (88); Nelson/gen. 5; 16 (21) Total: 37; 165 (202) so 18%, 82%

J. Worrying about what will happen to Character B when the main character finally commits to Character A completely Felix/honors 43; 46 (89); Jaynes/honors 38; 52 (90); Nelson/gen. 12; 8 (20) Total: 93; 106 (199) 47%, 53%

K. Worrying about the main character’s lingering feelings for the character he/she doesn’t ultimately choose, leading to a lack of fulfilling resolution for the main character Felix/honors 33; 53 (86); Jaynes/honors 30; 57 (87); Nelson/gen. 11; 10 (21); Total: 74; 120 (194) 38%, 62%

L. Being forced to face the fact that there might not be one perfect soul mate but aspects of what we’re attracted to within different people Felix/honors 34; 58 (92); Jaynes/honors 42; 45 (87); Nelson/gen. 10; 10 (20) Total: 86; 113 (199) 43%, 57%

M. Realizing that a choice for one person has consequences—and doors are open and shut based on this decision (for example, the main character might go up or down in wealth, status, ability to stay in touch with home and family, ability to choose a career, etc.)Felix/honors 55; 35 (90); Jaynes/honors 65; 22 (87); Nelson/gen. 14; 4 (18) Total: 134; 61 (195) 69%, 31%

N. Being indecisive (or going back and forth) about which of the two love interests is better for the main character Felix/honors 32; 59 (91); Jaynes/honors 29; 59 (88); Nelson/gen 6; 12 (18) Total: 67; 130 (197) 34%, 66%

O. Feeling like the writer or director is wrong about who ultimately should end up with the main character Felix/honors 16; 74 (90); Jaynes/honors 17; 71 (88); Nelson/gen. 6; 10 (16) Total: 39; 155 (194) 20%, 80%

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Appendix E

Note: This survey was taken by my three AP Language sections and one Academic Study Skills section (98 students in total). The answers are found in Appendix A.

S U R V E Y

Which of the following would you include in your definition of love triangles? Circle any of the letters [A-I] that you would include in your definition of a love triangle.

A. A girl is fought over by two boys, both of whom she’s attracted to. B. A guy is fought over by two girls, both of whom he’s attracted to.C. A girl or guy has a relationship (flirting, perhaps kissing) with two people but they don’t

know about each other.D. A girl or guy has a relationship (flirting, perhaps kissing) with two people and only one

of the two knows that the main character is interested in both of them. E. A guy or girl is dating someone but also has a friend of the opposite sex who has a crush

on her/him. He/she is unaware of the crush.F. A girl or guy is dating someone but also has a friend of the opposite sex who has a crush

on her/him. He/she is unaware for most of the book but eventually chooses the friend romantically instead of the boyfriend/girlfriend.

G. A girl or guy is dating someone but also has a friend of the opposite sex who has a crush on her/him. She/he is aware but not interested in being more than friends.

H. The main character is matched up with someone that he/she doesn’t like or no longer likes and he/she has romantic feelings and interactions with someone else

I. Other? (Or you can use this space to explain 1-2 of your above answers, if you wish.)