War—the ultimate conflict when communication has broken down and words have given way to violence. Many romances are set against the stage of war with military personnel as main characters and violent armed conflict as the background.
War settings have the ultimate stakes for the individuals and society. Violent armed conflict poses immediate risks to the lives of the characters and their loved ones. War jeopardises livelihoods and the economy.
In situations in which war is the driver of the economy, there are trade-offs for the characters. They might pay higher taxes, have fewer social services, or not be able to pursue their aspirations because their labour is redirected to the war effort. Their might also have been jobs in the war machine that would not have been available otherwise. Jobs in armament factories where people made friends, found love, and career advancement.
War also creates high-stakes moral dilemmas. To what degree, if any, does a society give up some of its freedoms (blackouts, curfews, rations, and so on) to support a war effort? To what degree are individual rights curtailed (a military draft or redirecting labour to produce armaments) to support the war effort?
These high-stake questions amplified personal and interpersonal conflicts and dilemmas.
Love in a time of war highlights the capacity for both compassion and savagery in individuals, and those emotional contrasts make for a terrific story.
Consider a FMC who doesn’t pay attention to international politics. An enemy attacks her country, and she joins the military to defend it. She is at odds with her brother who insists it’s someone else’s problem. She is at odds with her love interest (LI) who wants to start a business with her. She is at odds with her family, LI, and friends who don’t want to see her injured or worse, killed.
Navigating these complex relationships tests resolve, strengthens some relationships, and destroys others. Maybe the LI doesn’t have the stomach to wait for the FMC to return or they have painful memories of a family member who was killed in another conflict.
Love in a time of war is both uplifting and crushing. Social norms can be relaxed or tightened, changing how people form and maintain romantic relationships. Relationships might be formed quickly because both parties fear death and want one last good memory before heading off to the front. Relationships might be harder to form because of travel restrictions, rations, roadblocks, and other impediments.
What is love in a time of war?
Is it one last romp to seek some pleasure?
Does it afford opportunity for introspection?
Does it unite people who normally wouldn’t associate, in a common cause?
What happens to those relationships after the war?
Do they stay together, or they disintegrate?
War, like romance, risks everything and loses or gains it all.
How do your characters act during war? Let me know @reneegendron on Twitter.
Thank you @Sstaatz for the topic suggestion and @Joa70 from Pixabay for the image.
An interesting book keeps the reader engaged throughout, with surprises and plot twists.
A standard romance trope is good girls with bad guys. This plays out in crime/mafia/biker scenarios where the hero is a criminal, and the heroine is not. Another version is the bully romance, where the hero is a bully or overbearing boss or billionaire who owns everything but compassion. Other bad boys are the nomads, outlaws, snipers, soldiers, and alpha males who care for only themselves.
The bad boy trope is has a male lead that isn’t always likeable. He doesn’t need to have a redeeming quality. Sometimes, the female lead will try to change him, but that can be futile. Such a notion also plays into the false, misleading perception that one must change, that she must change him, to ensure their romantic relationship continues. Another concern with this perspective is that she must tolerate and accept his inappropriate behaviour, outbreaks, bullying, shouting matches, arrogance and sometimes abuse in the name of love.
Anti-hero/bad boy male leads in romances have gained popularity in the last decade. Writers have the right to write such stories. Readers have the right to read such stories. I’m simply pointing out my observations.
Let’s look at the flip side and explore what happens when the female main character (FMC) is the bad character. The bad character is assertive, dominates, breaks conventions, intimidates and breaks the law. What does the bad girl do that jars the reader?
It’s the change in the power dynamic that challenges readers’ assumptions. What happens if it’s the FMC who is the bully boss? Many perceive a woman who is assertive as bossy. Add some intimidation and bullying, and she is perceived as an unsympathetic character. If the female lead is unrelatable or unsympathetic, such characters are cast as villains. Think of the wicked witch in Snow White.
Let’s play around with a bully female character and explore ways for unsettling the trope while still engaging the reader. Bully romances tend to occur in office or work settings. Let’s call our FMC Marie.
Marie is the founder and CEO of a mining company. She works in a male-dominated field. She cannot show doubt or uncertainty, or her leadership is jeopardised. She cannot show compassion towards employees (who have lost a loved one or want flex time) because that makes her appear emotional and weak. If she plays hardball during a conversation, that makes her a ball-breaking bitch.
When her company needs investors, she’ll need to work twice as hard to prove that she’s competent enough to manage the funds to banks and venture capitalists. She’ll likely get unfavourable terms and conditions on loans and investments. She’ll push back on the conditions only to receive even more unfavourable counter-offers from banks and investors. This can make her bitter and mean.
Not quite the kind of female lead many readers can relate to, let alone stick with for sixty thousand words.
Let’s flip the situation again. The male main character (MMC) is named Scott. He started a tech company and approached venture capitalists. He was confident and assertive and landed ten million dollars to start his company. He elbowed and clawed and bullied his way to the top of the industry.
What is he? A bad boss or an inspiration? Odds are he’s viewed as a role model and inspiration. He’ll be invited to speak at prominent conferences and forums. He’ll be regarded as a captain of industry.
Despite these and other challenges, my advice is to write the story you want to write. Write the story that smooths feathers or the one that ruffles them. My overall suggestion is to be aware of how your story will be perceived. Start a conversation about expectations and norms and then smash those common beliefs. Write a story that meets readers’ expectations while sharing insight into why or how these expectations are harmful.
What makes bad boy tropes appealing is their alignment with many people’s expectations of power and authority. What makes bad girl tropes confrontational is that they don’t measure up to readers’ expectations of women. Sometimes this can be appealing to readers. Often it pushes readers away.
Whichever version of the bad person trope you choose to write, always include one or two redeeming qualities to ensure the reader can empathise. Allowing for both positive and negative qualities makes the character more realistic and believable as a love interest and, in the end, loveable.
Thank you, @Sstaatz, for the topic suggestion.
Readers are encouraged to reach out to me on Twitter @reneegendron to continue the conversation.
The image is courtesy Yan Krukov from Pexel.com
I put out a call for suggestions for my next blog post on Twitter. @SStaatz suggested that I write about romances after the Christmas period. There are plenty of romances leading up to Christmas, but few set in the immediate period after Christmas.
I decided to not write a how-to article. Instead, I wrote a romance set in the after-Christmas period. The characters are fictional and are not based on any real person.
Alice Nowak packed her white Christmas tree in its box. Tall enough to be on a table without touching the ceiling and eye-catching enough to not be burdened by dozens of ornaments. A few blue and red glass decorations were enough to make it shine.
Box placed in the basement for another year to collect dust, she climbed up the stairs and sat at the kitchen table. She dared not open the fridge with the ten pounds of leftover turkey and the Tupperware container full of nuclear-holocaust-proof cranberry sauce.
She’d pick away at the food over the next few days. Eat three meals a day of lean meat coated with red sugar. A diet of sorts, one weaning her off shortbread cookies, chocolate, rum, and pumpkin pie.
Her house was still. The noisy nieces and nephews riding sugar highs on little sleep returned to their parents, a form of a thank-you gift for having run amok for three days and two nights in new territory. No combination of Netflix, Xbox, or snowball fights could subdue their boundless enthusiasm.
She reviewed the texts on her cellphone. All thank-you’s and Merry Christmas’ and group photos of the same shot from slightly different angles with slightly better or worse cameras.
Like all she wanted was fifteen photos of little Bobby sitting on grandpa-turned-Santa’s knees, too shy to ask for his present but too proud not to smile for the camera.
Ah. Gone were days spent scribbling on the backs of photos and placing them in photo books. Welcome to the days of Google Photobooks with unlimited storage, unnamed photos, and the constant reminders of ‘best memories of October’ and ‘best memories of November’. Like the pictures from inside the carwash and the heap of leaves texted to a sister were the best days of her life.
Well. Maybe. They were her best days in the past three years.
She spent three days picking at leftovers in sweatpants and extra-warm socks that pulled up to her midcalf. Feet propped up on the coffee table, she watched every Christmas movie made since the dawn of motion pictures. She knew the lines, the scenes, the actors, the ups and downs. Yet, she watched. Part tradition, part boredom, and everything to do with not wanting to move from her comfy couch.
New Year’s Eve came and went. A few friends came over to celebrate, each with a bottle of wine in hand, all leaving having spent the night in the spare bedroom or couch or inflatable bed and left with no appetite and a headache.
Jeans tighter than they were two weeks prior, house clear of excess alcohol and sugar, she put on her snow boots, tucked her sketch pad into her purse, and trudged up the snow-filled sidewalks to the nearest café.
Hot chocolate in hand, she sat on a bench in a café overlooking the street.
The bubble of Christmas and New Year’s popped. Everyone hurried to make up for five weeks of slacking off—Christmas shopping, preparation of parties, parties with friends, parties with coworkers, parties with children’s friends, parties with that group of friends, parties with this group of friends who shouldn’t be left out, standing in line to buy presents no one wanted and more food than anyone could eat.
Now the stack of bills that flooded email inboxes. Now the dings on the credit cards that lowered credit ratings. Now the anticipation of meeting family and friends for the first time in months, gone.
Long, exhausting, frustrating lines at bus stations, train stations, and airports. Oh. And the clogged highways of impatient, likely still hungover, drivers, honking and cutting their way into lanes, inching that much closer to the end of the holidays crash.
Psychological, emotional, financial, and physical crash.
First day at the office. Inundated by reality.
She sipped her hot chocolate. Her last refuge in the not-quite-done holiday period, Alice sketched the car in front of the café. A late four-door model with snow on the bumper and side mirror. She drew two children clad in snowsuits collecting snowballs and throwing them at the window in front where she sat. One snowball landed with a splat, the other child would up and was poised to throw. His striped tuque flopped on his head in a where’s-Waldo-impersonation.
“That’s really good.” His voice was scratchy, walking-in-from-the-cold-and-hadn’t-yet-had-a-chance-to-sip-coffee, scratchy.
“You think?” She eyed her work, thinking it needed something across the street. Perhaps a shop with a Christmas tree or a mannequin in a winter dress in its window.
“Yeah. It captures playfulness and mischievousness.”
“What if added an elf hat on one of their heads?”
“It would ruin this. This is a winter drawing, not a Christmas sketch.”
She nodded. She held her pencil over the head of one of the boys and pencilled in a regular tuque with a pompom.
There. Both boys had moms who dressed them warmly.
“Cartoonist?” he asked.
“Of a type.”
She smoothed out a pencil line and softened the edge of a boy’s chin. “It’s more of a hobby. I sketch and sell them online.”
“Yeah. I sell them through a print on demand service. People print them on tee-shirts, coffee mugs, keychains, that sort of thing.”
“They sell well?”
She shrugged. “Well enough to buy a box of candy canes and peppermint hot chocolate.”
He chuckled, a little higher pitched than most men but more sincere.
Silence blanketed the conversation. She flipped a page and sketched her hot chocolate mug. To its right was a man’s hand, with a bit of hair on the back, cupping a mug of coffee.
“What will the caption of that one be?” he asked.
Her hand sliding to his to hold it, trace the lines of his fingers, the curve between his index and thumb. Not quite a Hallmark caption, more of instructions for her.
“I’m not sure yet,” she said. “I let the customer pick what the caption is going to be.”
“How about ‘post-Christmas present to self’?”
She laughed. “That’s about all most can afford.”
“Don’t forget the design the barista would put in their coffee.”
“He drinks it black.”
She glanced at him for the first time. He had an interesting curve of his nose. Not a regal or large nose, but a proud one. A thick scarf hung loosely around his neck, and black stubble pebbled his cheeks.
She returned to her sketch to keep from drooling hot chocolate over him. “Escaping the wife?”
“No wife. Needing a break from the parents.”
Relief spread through her chest, but she didn’t release the pent-up sigh. Forty-three and divorced didn’t equate desperate for a date. No way at all. Not that it had been a year and a half since her last semi-decent date.
Eager, not desperate. There was a difference, so her battered pride said. “Spared of the kids?”
“They’re at the ex’s this Christmas. Two provinces away.”
“Must be lonely.” She missed her two children, an hours’ drive away. Not that she would tell them to their face. Then she’d never regain control over the house.
“I miss them, but I like an empty house, too.”
She nodded. She smoothed the edges of the candy cane and added a twig of holly. It was a bit too Christmas-y for her sketch, but she balanced it out with a notebook and a cellphone.
He sipped his coffee. A strong, bold scent wafted over her. Bitter in scent, even, but his company was kind.
She flipped to a new page in her notebook. She looked out of the window at the passing traffic. A few taxis drove by. A woman in too-high bootheels pushed a too-expensive stroller. Add a pair of ostrich feathers and a fox shawl, and she was the perfect leading lady in a 1930s movie.
“What do you do?” she asked.
“Other than sit in coffee shops staring into oblivion?”
“It’s three days into the new year. It’s too early for oblivion. You’ll need something stronger in your coffee to call it that.”
“It’s a triple expresso.”
“Explains how acidic it smells,” she said.
“It keeps me awake.”
“It keeps me awake.”
He laughed, rich and bold, just like the smell of his coffee. “Sometimes you can’t, you know?”
“You’ve got three pots of that sludge in you, and you wonder why you can’t sleep?” She sketched his hand, no coffee mug, no table, no hot cup of hot chocolate, only his hand with his wide wristwatch.
“Caffeine’s never prevented me from sleeping.”
“And what does?” she asked.
A moment’s pause, long enough for him to drag a sip from his mug and put it down again. “Life. Its twists. Its turns.”
“You mean a series of dips, dives, and crashes.”
She sketched his forearm, encased in a thick wool sweater, the kind worn by fishermen in commercials. A manly sweater with a thick collar.
“Waiting for someone?” he asked.
Him. “No. Trying to regain my sanity. I forgot what it’s like to spend a family meal with everyone together.”
“Not close to your family?”
“I’m close to them. Just not all at once. I see my brother a few times a month to watch a hockey or baseball game. Parents every other weekend for dinner. Easy. Simple, bite-sized pieces of them when there’s booze or an activity to distract. Preferably, both at the same time.”
“Can’t just be any booze. Has to be top-shelf stuff as a reward for enduring.”
She brought her pencil-holding hand to her mouth and laughed. The tip of her pencil smudged across her top lip, and she wiped it away, but she laughed some more, smearing more charcoal. She reversed the camera on her cell to wipe away her Charlie Chaplin moustache.
“Come here.” Tyler hooked his finger under her chin and angled her face to him. “There are a few smudges.” He ran his thumb along the corner of her mouth and traced a finger along her top lip. “There you go.”
She smiled, shrouded with embarrassment. “Thanks.”
“No problem.” Beautiful espresso-black eyes met hers.
Her heart fluttered like she was on a first date with a promising man. Only this wasn’t a date, and he was just whiling away the time until his children returned.
She slurped her hot chocolate. She dabbed her index finger over her lip, clearing away the foam.
He laughed. “You like moustaches?”
“Have to confess. Ned Flanders was my favourite cartoon character.”
“It shows.” He dabbed her upper lip with a napkin.
“I can’t do this.”
“Walk around without a moustache?”
She shook her head. “This. Flirting. Fun.” Another f came to mind.
“Two kids to shuttle around from ski hills to band practice, friends, doctors, dentists. I’m more nurse and chauffeur and cook than mom.”
“What does that have to do with anything?” he asked.
“It means they come first—with time, money, and problem-solving. It’s a lot of mental effort keeping the house organised.”
“I know. Mine come first, too. They’re visiting their mom, but they live with me.”
He nodded slowly. “She’s a regional salesperson. Never home more than two days at once. I work nine to five. If traffic’s good, I have dinner at the table by six.”
“And if it’s bad?”
“It’s a call to the local pizza place on the way home. Dinner’s on the table by six-thirty.”
He lifted a shoulder in a slow, self-effacing shrug. “It’s worked so far. Both have good grades and enough energy to play sports.”
“Guess,” he said.
“One girl, one boy.”
“The girl plays basketball, and he plays lacrosse.”
His eyebrows rose a little. Less than an arch, more than a twitch. “How’d you guess?”
“You’re tall and thick in the shoulder.”
“But not a hockey player?” he asked.
She shook her head. “No. You don’t seem like the kind to like the cold of an ice rink.”
She hooked his scarf with a finger. “You’ve been here thirty minutes and haven’t taken it off. Can’t see you skating around a rink.”
“Could never stand the cold. And yours?”
“My kids don’t mind so long as there’s snow to ski.”
“Or cross country. It doesn’t matter to them. Snow. Snowboards. Skies. It works.”
“And you?” he asked.
“What sport do you play?”
Bed sport. “Not really athletic. Hurt my ankle in elementary school, which kept me out of soccer. Tried rugby in high school and that worked for a while, but I hurt my shoulder.”
“I bike in the summer, walk in the winter. You?”
“Golf in the summer. Wait out the winter.”
Her cheeks lifted in a smile. “Probably head south to play golf in the winter.”
“Only if the sales are good that year and if I have the kids. It’s not fair to them for me to go on vacation without them.”
“I’m always fair.” He finished his coffee. “And what’s fair to you?”
She stopped sketching.
Fair. Fair was a foul word. Fair was honouring marriage vows. Fair was child support payments paid in full and on time. Fair was showing up on time to pick up the kids when it was the ex’s turn to have them.
Life wasn’t fair. Life was some twisted game of how unfair it could be.
“Fair’s keeping your word,” she said.
“That sounds right.”
She waited for a counter-argument. More silence.
The coffee shop emptied. They were the last two patrons.
“Another?” she asked.
“Sure. Double expresso. Black.”
She returned with a hot chocolate and a double expresso. “How do you sleep?”
“I like to think.”
“About?” she asked.
“Everything. The twists, turns, angles, and systems.”
He inclined his head. “That obvious?”
“You’re too much in your head.”
“I don’t live that much in your head.”
He cast her a sideways look, and there was nothing but amusement in his eye. “What do you do?”
“Office manager. Part-time sketcher.”
“I can’t afford to go out. Not for another month and a half.”
“Neither can I. Dinner at mine? Mid-February.”
She laughed. “My kids have ski-club on Thursday.”
“That work. My daughter’s got ringette and my son band.”
“Thursday, at yours at six.”
“Bring the napkins.”
A fair number of romances start with the main characters not knowing one another. They can be insta-love, slow-burn, or gradual meeting of the minds and hearts, leading to romance. What happens when two characters have been in love for years, decades even, but the spark between them has faded?
Romances thrive on conflict. For a romance to rekindle (perhaps a second-chance trope, a loveless marriage trope that becomes a loving marriage trope, among other tropes), there needs to be conflict and change.
One or both characters need to experience an internal conflict that provokes a change in the relationship’s status quo. Let’s consider a second chance at love. This trope is often portrayed as two high school sweethearts reuniting after many years. Sometimes the couple dated through university, but their interests diverged, and they broke up. One wanted to pursue a career full-on, the other wanted to start a family or travel or some other interest that pitted them against their love interest. Many years later, they meet again, and things have changed. Perhaps the dream career turned out to be a nightmare, or years of travelling left a character feeling rootless. Whatever the circumstances, they are back together but so much has changed it’s unclear if their feelings are genuine or they remember the good old days.
Here are the beats that need to happen:
- they meet again by chance or through a special event (mutual friends’ marriage, high school reunion, etc.)
- a period of uncertainty as each character perceives the love interest as they were twenty years prior
- an outside event demonstrates a change in the love interest (they are no longer hot-heads, more considerate of others, etc.)
- the love interest notices the change but is unconvinced it is real or permanent
- there’s back and forth between the love interests as to what these changes mean
- an event triggers the love interest, and they revert in full or in part to their old selves
- the love interest experiences an internal conflict as to grow or revert
- a key decision is made to grow
- having embraced growth, both characters believe their relationship can work this time, and things go well
- a black moment that challenges personal growth and the ability of the couple to stay together
- each character leans and transforms into a better person
- the couple tackle the main issue and find their new happily ever after
What’s the spark in that? How is romance rekindled?
There are the superficial changes where one partner was turned off by the other’s weight gain or physical changes as they age. The partner matures and changes their perception of their love interest to appreciate that love isn’t just physical. It’s what the other person represents—kindness, love, good memories, shared values, building a future together, raising a family, etc.
However, the more profound the change in the character, the bigger the spark. A character that has pursued a dream so aggressively as to ignore everyone else in their life may wake up one day in the hospital having suffered a heart attack. That wake-up call provokes introspection and life changes.
The introspection and life changes provide the author ample opportunities to explore internal conflict (the struggle to eat healthier in a character’s mid-40s when they spent a lifetime on coffee and take-out). Internal conflicts also provide unique insights, a strong character voice, and enriching experiences for readers because the character arc is different.
To rekindle a romance, start with the conflict that tore them apart. Explore the conflict and figure out ways to make that conflict pop up again throughout the story until the characters resolve the issue behind the conflict. Determine ways the characters can grow out of the conflict, what they learn, what they experience, how their perceptions change, and what prompts the change. Play around with the push-pull of how the characters figure out their new selves and the new status of their relationship.
It’s romance. The advice is always the same: start with the conflict.
Which stories have you written that involve a rekindling of love? Let me know on Twitter @reneegendron. I’ve written one called the Long Wait for A Muse Bouche Review and you can read it here.
Thank you @SStaatz for the topic suggestion.
We’ve all heard of romances with dukes and ladies dancing in London ballrooms. Perhaps there’s a small town by the beach with an ice cream shop where a couple falls in love and shares their first kiss. There’s also the possibility of a ranch where a cowboy/cowgirl falls for a city slicker. These are all tried, and true settings of romances and romance readers eagerly wait for the next story.
What of other romance settings? What of unconventional places that offer unique constraints and obstacles to the main characters seek love? Let’s consider a chicken coop. (Thanks @DewayneKizzie) for the suggestion. There are all types of chicken coops. If you’re writing a historical, a chicken coop can contain a dozen hens. If you’re writing a contemporary on a large farm, a coop can contain tens of thousands of hens. What kinds of hazards does the romantic pair face in a coop? Perhaps a rabid fox or air quality issues? Perhaps there are challenges with collecting so many eggs in such a large facility. If it’s a modern facility, workers may resent working conditions, come from multiple nations, and experience communication issues, seek to form a union, or face health and safety hazards. (Chicken manure is considered hot because of the high concentration of ammonia).
Original settings engage the reader because they can’t anticipate the hazards and obstacles. Romances are driven by internal, interpersonal, and environmental conflict. Let’s say there’s a plane crash in a swamp. Each romantic lead needs to address a particular fear or trauma. Each lead also needs to develop a relationship with their counterpart. Often the relationship-building is rocky, full of miscommunications, challenges, and baggage.
On top of that, they need to address environmental constraints. In a historical western, the leads might face foul weather. In a contemporary boardroom romance, they may face a tight deadline from an overbearing client. In a plane crash in a swamp, they may face venomous snakes, apex predators, and disease.
The more unique hurdles you can throw at your characters, the more challenging it will be for them to reach their happily-ever-after. Great work!
Let’s look at some unconventional settings for romances. Perhaps your MCs work at an airport. One works as a baggage clerk loading the planes, and the other works for an airline company at the front desk checking in customers. One obvious constraint is time. Both are likely to work opposite shifts and have unsocial schedules. The person at the counter may also have to work for some flights. Here are some additional stresses: working at an airport requires a security clearance. If one or both of the main characters engage in risky behaviour, they may lose their clearance and jobs. Depending on the clearance needed, if one romantic partner loses their security access, the other person’s access is also revoked—known associates and all. How would that impact the romantic relationship if both lost their jobs because one did something reckless like drunk driving and wounded someone?
I’ll take a stab at another unconventional romance setting to illustrate how much fun they can be. Let’s use the example of a food assembly line. Each day the romantic leads stand in front of a conveyor belt and examine canned or packaged goods for quality control. They have quotas, stand all day that might hurt their knees and lower back, the job isn’t all that interesting, and the pay might not be that great.
What kind of problems does this romantic pair face? All sorts from financial stress, to challenges in wanting to move up in the company, to stressing over being replaced by further automation and being uncertain which career paths to take after they are made redundant, to worries over having their work outsourced overseas, to wanting to develop their food product and starting their company.
Don’t be afraid to put your romance in new settings. It allows you to explore different social dynamics, different economic challenges, different ecological constraints, and most importantly, keeps your reader engaged.
Readers appreciate characters who have lives beyond the love interest. By that I mean, they can’t always drive across town to be with their live interest. Most people need to work for a living. Sure, you can take some time off or work flextime, but the time needs to be made up. Most towns have rush hours and road construction and detours that cause delays. There’s rotten weather that impedes the ability of a love interest from leaving their residence, reaching work, or going out after work. Quite a few people have children and need to take into consideration childcare responsibilities before accepting to go out for drinks after work. Most people must be careful with their money. They can afford to go to a restaurant that isn’t fast food every now and then but can’t afford to go every night.
When writing in a unique setting, be sure to:
-present the setting in a slow and gradual way to not provide an info-dump
-present unique obstacles to your romantic partners
-don’t skimp on character development. Excellent romances thrive on strong characters
-don’t neglect dialogue and banter
-get real about the setting and research it. The more authentic details you can provide, the more immersive of an experience you can provide your reader
-get creative in the roles and responsibilities your characters have in the setting
What kind of original settings do you place your characters in? Reach out to me on Twitter @reneegendron
Thank you, @Sstaatz and @DewayneKizzie, for the topic suggestion.