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Simple Romance Writing Tips:
1) You have two protagonists, not one. Both need focus and development. Both are agents of desire, not objects of it.
2) Donât end the story when your protagonists get together. Itâs not only overdone, but it ends before the bigger story can begin.
1) You have two protagonists, not one. Both need focus and development. Both are agents of desire, not objects of it.
2) Donât end the story when your protagonists get together. Itâs not only overdone, but it ends before the bigger story can begin.
3) You can build tension in a relationship without involving abuse (physical/emotional/etc.) or forcing a break-up (either temporary or permanent) between the couple.
4) That in mind, couples do have their struggles, from the mundane to the more more dramatic.
4) That in mind, couples do have their struggles, from the mundane to the more more dramatic.
5) Donât forget to add in sweet moments as well (PDAs need not be overly mushy). Remind the audience why theyâre together in the first place.
6) The above also applies to same-sex/polyamorous relationships. Just because itâs not straight, doesnât mean you treat them different.
6) The above also applies to same-sex/polyamorous relationships. Just because itâs not straight, doesnât mean you treat them different.
7) On the subject of love triangles: Make sure both rivals have their own good qualities so itâs not one-sided/between two awful people.
8) Make sure it ends in a way that satisfies all parties. How you do so is up to you. (Donât pair your leftover with the protagonistâs baby.)
8) Make sure it ends in a way that satisfies all parties. How you do so is up to you. (Donât pair your leftover with the protagonistâs baby.)
9) Romance can be affixed to other genres as well. Slice of Life, fantasy, sci-fi, historical, etc.
10) On that note, lore and continuity are not interchangeable. Continuity is making sure plot points remain consistent. Lore is making sure world building stays consistent.
10) On that note, lore and continuity are not interchangeable. Continuity is making sure plot points remain consistent. Lore is making sure world building stays consistent.
11) Age is just a number. However, donât pair teens with adults, or barely-adults with grown adults. The rule of Age / 2 + 7? That also applies here to ensure audiences donât feel too queasy.
12) That being said, you are allowed to start the story with your protagonists as kids.
12) That being said, you are allowed to start the story with your protagonists as kids.
13) On writing minorities: donât rely on stereotypes, and donât write minority characters just to have them. They deserve proper development as well.
14) Donât be afraid to have people of two different races together; just be careful that neither protagonist comes off as racist.
14) Donât be afraid to have people of two different races together; just be careful that neither protagonist comes off as racist.
15) Donât just focus on the physical/sexual aspect. Sure, physical attraction plays a part, but the personality of both protagonists are more important. How well they get along.
16) Play around with relationship dynamics (childhood sweethearts, enemies to lovers, etc.)
16) Play around with relationship dynamics (childhood sweethearts, enemies to lovers, etc.)
17) Thereâs nothing wrong with having a niche, nor is there anything wrong with expanding your horizons and trying something new and taking a risk.
18) Write for YOU. Yes, itâs satisfying to hear feedback, especially positive feedback, but itâs important to write for yourself.
18) Write for YOU. Yes, itâs satisfying to hear feedback, especially positive feedback, but itâs important to write for yourself.
19) On criticism, be open to it, but thereâs a difference between constructive criticism and just vitriol from the reader. Only the former is important.
20) On writerâs block: if you need to walk away for a bit, go ahead. Maybe an idea will pop in the meantime.
20) On writerâs block: if you need to walk away for a bit, go ahead. Maybe an idea will pop in the meantime.
21) You donât want to write romance? You just want your protagonists to be platonic? Thatâs fine.
22) Itâs okay to be ashamed of what you wrote in the past. That shows youâve grown as a writer. Itâs also okay to have unfinished drafts. They can be repurposed.
22) Itâs okay to be ashamed of what you wrote in the past. That shows youâve grown as a writer. Itâs also okay to have unfinished drafts. They can be repurposed.
23) Most important when it comes to writing in general, not just romance: be happy in your work. Youâre gonna have off days, but only youâll know if itâll be worth it in the end. Thereâs nothing wrong with wanting to move on to another creative field, or any other altogether.
24) One character shouldnât change for the other. Both should grow with each other. For example, while a rebellious character learns to become more sweet, their uptight partner needs to learn to become more relaxed. The best partners help you grow as a person.
25) Opposites attract, yeah. However, thereâs no shame in having characters be alike in many ways as well. Hell, have your couple be different in some ways but alike in others. Just about every relationship, from romantic to platonic to familial, is like this.
26) There is concern with having your characters, âbeing defined by their relationships,â ie. having their only trait be, âXâs partner.â However, that shouldnât happen if you write your character similarly to how they were when they were single. However, donât forget that growth.
27) Itâs okay if you donât have everything planned out ahead of time. Itâs okay if the story strays from that initial plan. Go with it. Improvise. Adapt. Outlines help you keep on track, but your story should feel alive to the audience. Changes to the original plan are natural.
28) Want to avoid accidentally writing a toxic relationship? You can start by not writing the following power dynamics:
A) Large age gap (adhere to Age / 2 + 7)
B) Huge difference in life experience
C) Master/Boss + subservient
D) Celebrity + fan
E) Literal powers + little/none
A) Large age gap (adhere to Age / 2 + 7)
B) Huge difference in life experience
C) Master/Boss + subservient
D) Celebrity + fan
E) Literal powers + little/none
Almost all of those can work if the one with less influence/experience/power has the opportunity to match that and eventually take care of themselves should things go south. If theyâre not, theyâre in an abusive relationship. Physical/Sexual violence need not apply.
29) Don& #39;t have one character in your relationship revolve around the other (what, "only letting them be defined by their relationship actually means.") In real life, that could be a sign of one partner isolating the other from friends, family, et cetera, another abusive tactic.
30) One partner shouldnât be a caretaker for the other. Sure, both must care for one another, but one partner shouldnât do all of the caring. On the one hand, the one not doing the work is lazy. On the other hand, the carer could be doing this to make the other dependent on them.
31) If you do intend to write a toxic relationship, make sure it ends either with both partners maturing, either by seeking counseling or ending the relationship. This is especially true if youâre writing an abusive one. However, as in reality, it is a process. Take your time.
32) People heal from such relationships in different ways. Some choose to seek a new partner, some donât. Some choose to devote their passion elsewhere (like career or family). Whatâs important is that they come out better than they were in the relationship.
Some⊠donât heal, and end up continuing the cycle, by being a victim again or by becoming an abuser. This could work if you intend on writing a tragedy. An abuse victim becoming an abuser themselves or ending in another abusive relationship isnât a happy ending.
33) On that note, you can write sad endings. However, tragedy doesnât necessarily have to end with death. Characters should leave the story changed, no matter what, but a tragedy has to end with them going through a negative change; any, not just them dying or losing a loved one.
34) Opposing that, writing comedy is hard. Thereâs a fine line between humor feeling natural and forced. Try to stay on the former side of that line if possible. I find itâs best to write humor by not trying to. You do you, but remember that humor is in the ear of the beholder.
35) The difference between Fantasy and Sci-Fi? Magic vs. Science. Both require the creativity to pull the genre off, but both can take place in a variety of settings. You can write a Pirate Fantasy or a Sci-Fi Western. Maybe you wanna to combine both Sci-Fi and Fantasy. Try it!
36) Do your research! If youâre basing your story on a time period in a specific place, do your research on what it was like then. Scientific accuracy also helps when it comes to research (for Sci-Fi). Even fantasy requires research, if you wish to include real world elements.
37) On that note, research the people and cultures you wish to write about. Be careful so as to not come across as using said people/culture as a token.
38) On the topic of sex: itâs entirely optional. Thereâs plenty of ways to show intimacy without having your characters engage in sex. Just have them enjoy each otherâs company. Youâre still open to if your audience is more mature; just donât forget sex isnât the only option.
39) Speaking from experience: you can have love without sex. But you cannot have sex without love. (Thatâs rape!) Itâs a, ânot every rhombus is a square but every square is a rhombus,â scenario. However, if you just wanna indulge yourself with your work, go for it.
40) Going back to point 1: when it comes to perspective, both protagonistsâ points of view are important. Remember: both are agents of desire, not just objects of desire. You can go with dual First Person POV or Omniscient Third Person POV. You decide whatâs easier for you.
41) Grand gestures are, well, grand. However, the little things (like helping each other with tasks) can be just as romantic.
42) You know love languages? Use some combination of all five of them in your story. Every person expresses love differently, and you should reflect that.
42) You know love languages? Use some combination of all five of them in your story. Every person expresses love differently, and you should reflect that.
What are the five love languages?
Words of Affirmation (âI love you.â)
Acts of Service (Helping your partner put groceries away)
Gifts (A stuffed bear won at a fair)
Physical Intimacy (Cuddling on the couch)
Quality Time (Playing video games together while a long distance apart)
Words of Affirmation (âI love you.â)
Acts of Service (Helping your partner put groceries away)
Gifts (A stuffed bear won at a fair)
Physical Intimacy (Cuddling on the couch)
Quality Time (Playing video games together while a long distance apart)
43) Just because youâre writing a story about abuse/bigotry/incest/etc. doesnât necessarily mean youâre endorsing said things. Itâs only endorsing if itâs not shown as a bad thing.
44) You donât need high stakes to create a compelling story. You just need some conflict present.
44) You donât need high stakes to create a compelling story. You just need some conflict present.
45) You want to write a particular romance dynamic? Go right ahead: just make sure it makes sense with the characters you& #39;re writing first. Also, some are harder to pull off than others.
46) When writing Enemies to Lovers, keep in mind it& #39;s not an instantaneous progress.
46) When writing Enemies to Lovers, keep in mind it& #39;s not an instantaneous progress.
Give the enemies time to stop being enemies before you can move on to the, "Lovers" stage. Otherwise, you& #39;ll be asking yourself the same question you ask when you see sitcom couples who clearly hate each other and are only still in it for sex/their kids: "Why are you together?"
47) There& #39;s a fine line between objectification and expressing sexual agency. It& #39;s okay for characters to show pride in that. It& #39;s okay for characters to take pride in their modesty.
48) Promiscuity isn& #39;t inherently a bad thing. Abstinence isn& #39;t inherently a good thing.
48) Promiscuity isn& #39;t inherently a bad thing. Abstinence isn& #39;t inherently a good thing.
49) Another popular dynamic: childhood sweethearts. Just be careful not to write them like siblings (have one see the other âlike a siblingâ so to speak) and you should be good.
50) Whatever dynamic you choose, however, donât be afraid to experiment, bring something fresh to it.
50) Whatever dynamic you choose, however, donât be afraid to experiment, bring something fresh to it.
