The direction of the topic was slowly switching to, what's coming out right now so I went with that. None of the names you mentioned appear in easy access in my country. You have to go to specific book stores which are slowly vanishing or order online. So I described what I see in most supermarkets that have large book sections.
I'm a dude so I generally didn't expect to like all of this "lady-fantasy" but I decided to give it a try because a woman I know said I was "muh generalizing."
Nah, I was right. Quite often in reality, you CAN judge a book (or person) by its cover and be VERY accurate. I know I've been fairly accurate in doing so. But oh well.
Most villainess stories (and we’re not talking Bakarina breaking everyone’s hearts) end up with the original (by the standards of the reader) love interest, even if there might be guys who flirt with them or otherwise compete for their attention.
If you read trashy mass-marketed works, you’re going to find trashy mass-marketed plots with trope-safe proven character and plot devices (enemies to lovers)(triangle)(self insert).
Publishers don’t want to lose money, so they don’t take risks. Most of their reader base will be younger girls (young adults, teens, and tweens) and if older women do go for it, they’re often already used to the endless supply of popcorn romance novels (my mother owns such a collection as to astound the local library) which probably serve as a reprieve for an absent marital life. I will say, Twilight and ACOTAR and Fifty Shades are like babies first gothic romance (though the baby eating its way out of Bella is metal; it’s week writing), baby’s first fantastical smut, and baby’s first BDSM.
Romance isn’t a bad genre, let alone core concept; You’ve Got Mail is among my top three favourite movies (others being The Mummy and PiratesOTC, which feature romance (and what is the Mummy if not romance?), and even good love triangles (or quadrangles? Whatever is up with Miss Swan, who is a great character, she ends up with Will and that was a pretty cool scene at the end of pirates 3; I was moved anyway).
Even romance written by women: Jane Austen’s works are not beloved because they’re bad.
Besides romance itself, many women have written works that contain romantic subplots or driving forces that are centred on wholly different matters: Frankenstein’s Monster seeks a mate, Little Women has courtship going on in the background, hell: a woman wrote Fullmetal Alchemist — a work where she gave us a shapeshifter posing as a doting father’s wife to kill him, a girl working on the mechanical arm of her totally-not-boyfriend, and a man who walked out on his family to save the world and doomed his wife to death by heartbreak (or disease, whatever).
It can’t be bad
because it’s written by women.
Their framing might be different than yours (relationships (all kinds) vs external conflicts, resilience vs heroism, and action vs empathy — this is generalising, which I don’t really care for), but then being written by women is not the cause of mainstream romance (where it has intersected with fantasy: there are many excellent female fantasy writers who have been also affected by romantasy’s rise) reading like a publisher told them to add enemies to lovers to the story.
Neither gender nor genre of any rendition will come out as strictly quality or strictly bad.
Take girls love as a genre; I adore it, it’s what I tend to read when I am given the choice to read anything, and far beyond the smut-infused (which has its place); I adore the romances depicted within. Let’s not [Obliterate] is wonderful, and I don’t care if it was written by a man, woman, child, century-old WW2 Vet, or President Trump on a bad day. It is so cute.