Why flirt with one enemy when you can flirt with two?!

I wanna write an Imperial princess who is overseeing a dispute between an ambassador and vassal state leader. I think the best real-world equivalent would be a 7th in line English royal mediating with a German ambassador and an Irish governor in whatever anachronistic combination that makes this combination tense, but still workable. (I'm not literally writing Nazis or the Troubles. I'm speaking about these power dynamics, but, like, I'm not interested in writing genocide or localized bombs as a pretext for a freakin' romance.)

The German ambassador is a political enemy, but he appeals to the Princess with their shared culture, shared history, and telling her whatever she wants to hear to make himself seem as well-intentioned as possible. The Irish governor doesn't mince words and tells the Princess, who is her political ally but culturally enemy, exactly how he feels no matter how much it inconveniences and hurts her.

They are both working in intelligence and espionage organizations that mean to undermine the English crown. They both think this Princess has the lack of focus and direction in life that could make her switch to their side, if they play their cards right. Their mutual benefit for the treaties and disputes they've come together to address are still important enough to do their actual jobs.

I think the most interesting thing about this idea isn't SIMPLY either one man or the other, but that she could choose one man and betray same man's cause or chose one and betray the other. LOL

I know what that deep yearning and pining for another person feels like in real life, and I get it's wish fulfillment to have the feelings be returned. But life experiences have taught me if you’re yearning over the other person liking you back, you will be disappointed and should let it go. For personal reasons, it feels unsafe and even wrong for me to write about endless pining being returned. It feels like being one of those guys who is friends with a girl just with the hope she returns his romantic feelings (aaaahhh). I could do that kind of yearning in some romances, but not the one I'm currently writing.

There has to be another way.

Maybe one or two of the MCs aren't yearning for each other, but we are for them. Or, the yearning isn't about whether one MC likes another MC back, but rather the yearning for the relationship to be the right one instead of being lopsided, that the MC loves their best friend but is scared of a relationship messing up their friendship.

For context, the romance I'm writing is a sub-plot in a larger healing + recovery story in a fantasy / sci-fi world, so a lot of the conflict is from external sources and other challenges in the characters' lives.

I'm writing my first cozy/rom-com-ish romance novel, my background is in business writing, so it has been a while since I have done creative writing. The romance novel is close 3rd person with dual POV, expect I added one chapter each for two important but supporting characters. I've tried to stay close to alternating POV chapters for the female and male love interests. I got some really good notes back from a beta reader and now I'm considering -

1. adding another chapter or 2 from the supporting characters which would break a bit more of dual POV into almost 4-way POV.
2. breaking a couple chapters into 2 chapters, but in places it doesn't really make sense to interject another new chapter in the other POV, thus breaking the alternating cadence.

Being a new writing genre for me and wanting this to ultimately resonate with the broadest audience possible, how much is ok to break from the formula? Do readers care that much?

I'd love feedback specifically from romance readers/writers since that is my target here. Any feedback would be great. I appreciate your response.

Hello! I’m relatively new to this. I now have 1.5 manuscripts completed and I think it would be valuable to be a part of a writing or critique group but I don’t know how to find one. I know I’d want to work with folks who write the same genre too (romance, obviously) and worry that I’ll struggle to find folks if I limit myself? How did you find your people? The ones you thank in your notes in the back of your book for being your first readers and cheerleaders and who you encourage, in turn?

I’m writing a fiction historical romance set in the 18th century. It’s a fun, passion project I’m working on as an escape from reality with all the horrible realities in the world, I wanted to create beautiful world of romance and yearning. Additionally, since it’s Smut - they is detailed sex scenes. I’ve posted it on Literotica but I feel like compared to other stories it might not have enough “sex” to attract readers and “too much romance”. Any other recommendations to put this out there? I’m also putting it under a pen name.

Hello,

I've been working on a novel for a while, but I feel like I get stuck at certain points. I overthink things and end up not writing anything... or I start another story and end up with several unfinished drafts. Any advice? I should mention that writing is just a hobby, and I'm not particularly good at it, but I don't want to just keep everything in my head and never actually write it down.

I was going to hire an editor who was offering low rates (because she was new to editing) and everything was going well until she made a comment about how much she hated smut books....knowing well I write romance/romantasy. I myself have only a few scenes, but I've always been of the camp, don't yuck someone's yum. I was going to go with her but then I thought about it. Always trust your guts, ladies. If that's their best foot forward, I can only imagine the sort of harmful advice she would've written in her editing.

We have enough issues with imposter syndrome and worrying about AI, we don't need to give our money to editors who hate our genre as well while pretending they don't.

Edit: Apparently if I don't give people money who look down on people who write smut, I'm the actual misogynist, not the editor who lies that they only want to work with clean romance. If you want to work with only clean romance as an editor, say that. Don't lie then say you hate sex in novels but don't mind it in non-female literature like fantasy.

Hi. I have a passion project that is soon finished that I dream to publish one day. Though, I am actively participating in a discourse thats been discussed quite a bit recently: I am a straight woman writing a romance between men.

My story is about an male investment banker who tries to balance love and success. The novel tackles themes of queer identity, masculinity, vulnerability, and the choice of love. My main character isn’t simply ”just a gay man”. The reality of his identity is centre-stage of the novel, and I am telling a story about a minority I am not apart of.

I have lived my whole life as a straight woman (I generally identify as gender non-conforming and unlabelled, but have presented female socially and only dated men despite having an attraction to women). I cannot understand the full reality of a queer man, and never will. I have always been interested in queer identity and done a lot of research over the years, but me reading about it will never substitute for my understanding of the story if I had actively been apart of the minority that I am telling a story about. I plan on finding gay male beta readers for my book once I finish my second draft, but I will still always be a straight woman writing a gay romance.

So, what is your opinion on the matter? There has been so much discussion around this topic and the blaring problem with it; women fetishising gay relationships. I have agreed with many of these discussions, and that has also acted as an inspiration for the story for what to not do. Though, I find myself being the very thing being criticised. And I completely understrand that I am legitime for criticism for the reasons listed above.

My general question is this: should writers tell stories about minorities they are not apart of? Should you instead leave room for those actually living the stories you are trying to tell?

Curious to hear your thoughts!

Ever since I was a young girl, I devoured romance novels. Something about the way they make me feel as I tear through their pages. All angsty, irritated and itchy. And the wonderful something that settles in my heart and spreads across my body as the fictional couple fight, laugh and love their way towards a happily ever after.

I suppose the HEA (happily ever after) is what keeps me returning to Romance Fiction. We know life rarely offers a permanent happily ever after. We have moments of happiness followed by longer periods of trouble, discontent and conflict. Yet in the midst of all this, there are moments of joy and love too. But very often buried under the enormous burden that life tends to be.

Which is where Romances come in.

A tiny escape into a world where 'True Love' exists and 'happily-ever-afters' are guaranteed. Why would I not escape into that from time to time and breathe in its fragrance once in a while. To oxygenate myself so that I can carry on with the exercise of living in this world. Stoic soldier that I am.

I transitioned to writing romances a short while back mostly because I craved to read something different from what was available today and I realized that I would probably need to write it myself.

Lust and sex are the fuel that sets a relationship flaming. They are essential and necessary for a relationship to remain alive. But they may not be sufficient to keep it enduring. I love my dosage of smut and steam in a romance novel. But a book that’s only smut with none of the tender moments between its protagonists is only physical. Loins without heart. Body without soul.

A good romance makes its reader feel. Not just the pull in the body, but the tugging at its heart strings.

The old greats of Romance writing did that for me, something which I have missed in the current genre of insta-lust, quick hook-ups and dark worlds where abuse seems to be mistaken for love.

And so I began writing. My own stories that made me feel a little less alone. A little more loved. And just a bit happier.

Book heroes with strength that protected, book heroines with softness that didn't crumble, tales that make me laugh and cry.

I may not publish any of it. Or I might. I still haven't decided. But the exercise itself is soothing and healing. And in the process it has led me into a journey to ponder over a larger question. What is it that we actually mean by the world LOVE?

I would like to hear your thoughts and comments on this. What do you think Romance Novels are all about?

I am writing a book and I love my FMC she is uniquely herself and I think a lot of girls will relate to her quirkiness because it's not overdone but do you think in a RomCom style book, it is overdone?

Two romance stories, alike in dignity, is where my post begins.

Mireya in the North is a full-service consummate professional (a spy and mercenary) from a defunct noble house in a Republic being turned back into a constitutional monarchy to prevent civil war. She's been proposed to by her childhood friend, the prince-in-hiding, to become his queen and help her prevent war. She's frustrated by this because of her own cynical beliefs: war is inevitable, and the only people who believe otherwise are those who don't pay attention to the warcraft done by people like her for years before the cannon fire started; and she does not want to prevent a war for free when her family has already placed their bets on the outcome of the conflict. She doesn't want her life to become serving the ungrateful masses and being poorly compensated for it. This flows directly into her reservations about marriage, as she doesn't want her time, labor, and energy to be taken for granted and given for free. Right now, she can travel anywhere she wants in the Realm, code-switching between languages, classes, and cultures, doing whatever she wants. Does her little princeling really think they will have that same level of freedom under the weight of a crown? Does he really think love is a good enough excuse?

Her Imperial Majesty, the Empress Younger in the South was not raised to be the heir, even though whichever princess is first to have a daughter is typically acknowledged as the heir to the Empress Elder. Princess Naganari, youngest of five, was content being an actress. She would watch political theater from afar and perform it in the palace amphitheater for the amusement of the crowd, her mother, and the Duke of Varenne. And then she started asking questions no one wanted answered, uncovering mysteries no one else dared to name, and she started believing she could tackle problems no one else bothered with. Unfortunately, she was raised in a world of academics, fine arts, ritual hunting, and sports, and she believes the world operates on structured rules. The Duke of Varenne has had to tell her multiple times as he's protected her from poisonings and kidnappings, the world doesn't operate on good sportsmanship; people will lie, cheat, steal, and kill when they are outmatched. They don't clap admirably and step to the side. It's for this reason, Anar hesitates to propose marriage to the Duke, as she feels she'll never get to truly have him as the lifelong partner she imagined after everything they've been through. He is so formal and aloof with her now. She regrets seizing the crown if it means everyone treats her differently.

So, the stage is set. The Realm is hosting the 1888 World's Fair. Foreigners are pouring in from every corner of the world and the Duke has paid a considerable amount of money for Mireya to lead the Empress Younger's security team. He has warned her in advance:

1) Her Imperial Majesty is called Lady Anar when she is in plain clothes and is on a walk about with her ladies-in-waiting. (He refuses to call what she does "a disguise.")

2) Lady Anar has a body double (her understudy, duh,) and a twin. Both of whom will be employed without your knowledge or consent.

3) No matter how agreeable, sensible, or sympathetic that Lady Marie (Anar's head lady-in-waiting) sounds, she is not on your side. She is on the Empress's side.

4) If Lady Anar ever says anything... Questionable... Please remember that Lady Marie was raised in the North, so Lady Anar considers herself an expert on Northern culture and vernacular. With that being said, since you are an ordained priestess in the same religion as Lady Marie, Her Imperial Majesty has a list of long-standing arguments she's had with Lady Marie that she'd like you to settle on matters of theology, mythology, and heroic folklore.

What kinds of misadventures would you want to see between these women at the 1880 World's Fair? What kinds of conversations?

Have you ever reached a point where your original author name no longer worked for you? Tell us why you changed it, whether it was because of branding, genre, privacy, discoverability, or something completely different.

When writing a novel, when your protagonists are about to get it on, do you include any discussions about condoms or safety?

Now weekly!

Blurbs can be the bane of an author's existence - both for self-published authors, who have to come up with an enticing hook all by themselves, as well as for authors seeking traditional publishing, as they are usually included in queries.

We want to help! Post your blurb draft and let the community help shape it into the perfect snippet of info.

To participate, please comment on this thread with the following info:

• The title or working title of your WIP
• The romance subgenre of said WIP
• The draft of your blurb you've got so far
• Any content warnings and additional info you deem necessary!

Anyone who wants to help can then reply to your comment to workshop your blurb.

Happy crafting!

Alright, so I have these two characters in a scene where character A is admitting their love to character B. This scene is where character A is expressing their love to character B shortly after character B nearly died. These two are childhood friends but have never actually realized their feelings for each other until they nearly lost the other and up until now, have been too afraid to even think of confessing.

I have a lot of dialogue for this moment as it's very emotionally charged and I'm trying to think of small acts of affection that character A could show to break of the dialogue but I'm drawing a blank on what to do.

If anyone has any suggestions on some small acts of affection or tips on what to do that would be greatly appreciated!

I’ve been writing a romance series and published the first novel in my mid 20s, now I am in my late and honestly the story gives me the ick and the woman character reflects exactly how I acted in my early to mid 20s: always working overtime to validate and try to understand toxic men. I don’t personally care for novels where the woman always walks away from a somewhat toxic man, because that’s not life, but no way I am making these characters end game anymore unless he changes - and that’s not realistic either lol!

To preface, I am currently writing an LGBT+ romance story and I'm also an avid romance reader. So I'm both romance reader and romance writer. And I just want to put this out there: Writers do not need to include slurs to show a character is a bigot.

I read MF and LGBT+ romance stories. And while I haven't come across this a lot, there have been some LGBT+ stories with a homophobic character who uses the f-slur and it is so jarring and unnecessary. In most of the books I've read that do have homophobia, the bigotry is demonstrated without the use of any slurs. And it is very clear. This character is a bigot. I'm guessing the intent is for it to be jarring and to show "this is a bad character." But as a Black queer woman, I promise that is unnecessary. And I think using a slur to show how a character is bigoted is harmful. In the same way that I would immediately hesitate to read another story by an author who includes a racial slur to show a character is racist, I feel the same way when an author uses the f-slur to show a character is queerphobic.

There's a queerphobic character in the story I'm writing so I understand how it can be a challenge to show that without using slurs, especially since we all know queerphobic people use slurs irl. And many times we want to write realistic, authentic characters. But I think it just means being more creative in the writing process. So, I just want to put this out there for any writers who have a bigoted character that uses slurs or you're considering it: don't. You can show bigotry without including slurs in your story.

Hi all. I'm writing a Christmas Dungeons and Dragons adventure, basically a Christmas Romance movie set at a Bridgerton ball. The players have been hired to chaperone Sora, the tomboy princess, and facilitate conversations between her and her 4 suitors. There's more challenges, but for the purpose of this post that's all.

I'm working on giving each of the suitors 3 green, 3 yellow, and 3 red flag qualities. Any thoughts on the below? They're pretty much in order of good-bad.

Leyetan Kanda

Description: You see a lanky young man standing against the wall, his pale brown hair bobbing above the crowd. His skin is plagued by acne and he watches the Ball with soft, brown, disinterested eyes, shuffling his feet, uncomfortable in the formal clothes and setting. He smells faintly of sulphur, and his fingers flex nervously.

Family: The Kanda family is old, wealthy and respected, though doesn’t have much direct influence. Their fief is at the edge of the kingdom, on the edge of wild forest, where they prioritise education over power, studying nature and building libraries.

Behaviour: Leyetan will stand in the corner of the Ballroom, if possible, and wander around by the walls. He will not initiate conversation, and will need to be convinced to approach Sora.

Green Flag: Soft spoken and gentle

Green Flag: Respects Sora’s autonomy

Green Flag: Loves to share his, and others’, interests

Yellow Flag: Quiet and standoffish, never knows what to say, and says it awkwardly

Yellow Flag:

Yellow Flag:

Red Flag:

Red Flag:

Red Flag:

Paraval Carvas

Description: You see a strong, broad-shouldered man with striking green eyes and carefully coiffed, short brown hair. He seems relaxed standing at attention, and moves with the grace of a cat, even in his black, gilt trimmed armour.

Family: The Carvas family is of moderate wealth, and only middling name. His father raised him with purpose, to ensure that Paraval would be the model vassal for the king, and improve the family’s standing in the kingdom. Their fief is near the capital, in the countryside.

Behaviour: Paraval will join nearby crowds and graciously downplay his own heroics if they are mentioned, while talking up the qualities of those around him. He will not seek Sora out, but he will approach her if he sees her. He always seems to be where he should be, and saying what he should be saying. The picture of chivalry, he is kind, gracious and honourable, ready to defend the kingdom or his lady’s honour with equal fervour.

Green Flag: Openly heroic, unashamed to show kindness and grace while being quick to sacrifice for others

Green Flag: Respects women, as chivalry dictates

Green Flag: Good with kids

Yellow Flag: Stubbornly strict with rules and customs

Yellow Flag: Has no interests outside of ‘what is proper’

Yellow Flag: Dull conversationalist

Red Flag: Responds to insults with duels, rather than discussion

Red Flag:

Red Flag:

Castellan Marius

Description: You see a slim, blonde man watching you with sharp, pale blue eyes. He is sleek, with swept back hair carefully gelled, and dressed in white and gold robes. A holy symbol hangs around his neck, and he stands with a rigid adherence to decorum.

Behaviour: Castellan will passively search for Sora and approach her, if she draws near. He does not approve of her disobedient nature and will try to rein her in. He actively engages in polite conversation, but abstains from drink or dancing.

Family: The Marius family is very wealthy, and provide copius charitable donations to the Church. They live in the capital and are highly influential, due to their wealth and generosity.

Green Flag: Genuinely believes in charity, sharing wealth to help the poor

Green Flag: Believes in caring for those under his power

Green Flag: Believes discussion solves all quarrels

Yellow Flag:  

Yellow Flag:

Yellow Flag:

Red Flag: Thinks the poor are beneath him, like cattle

Red Flag: Firmly believes in the subjugation of women

Red Flag: Silences dissent with debate and references to religious law.

Bodric Dureze

Description: You see a tall, broad shouldered young man carrying himself with an easy confidence, a lazy smile lingering on his face. His short blonde hair is arranged in a casual messiness, and his dark eyes sparkle mischievously. His clothes are fashionable, formal but seem loosely draped over his muscled form.

Family: The Dureze are an old family, and control much of the Northern Border. As the March Wardens of the kingdom, they control the largest military contribution to the king’s army, prioritising ambition and achievement above all else.

Behaviour: Bodric will actively search out and pursue Sora, interfering with others’ attempts to do so. He will avidly defend his friends and deal violently with his enemies.

Green Flag: Confident and friendly

Green Flag: Handsome and quick to defend his friends

Green Flag:

Yellow Flag: Likes to be in charge, or highly respected by the one in charge

Yellow Flag: Takes what he wants, when he wants

Yellow Flag:

Red Flag: Doesn’t respect women

Red Flag: If your needs conflict with his, you are his enemy and WILL be dealt with

Red Flag: Quick to violence when his needs aren’t met

Are there names or last names you're sick of seeing? Any you absolutely love or wish authors used more often?

I've started noticing certain surnames popping up a lot (Vance, I'm looking at you), and it got me wondering if I'm missing other trends.

Are there any unwritten rules when it comes to naming MMCs and FMCs? Or does it really not matter as long as the character is good?

I'd love to hear your favorites, least favorites, and any suggestions! Or just any thoughts at all?

Hello, writer of romance novels here.

I've been working on this 125,000-word novel where the two characters have been eyefucking for a long time.

My friend read the entire thing from start to finish and they complained that 500 pages of my characters eyefucking doesn't really qualify as romance.

I'm genuinely wondering whether I should take their advice, because I think there's some really good tension going on around here.

AI is becoming harder to separate from conversations about writing, publishing, and creative work. Unfortunately.

I'm writing a political romance story where a young prince is taking back a kingdom that has been in stewardship for a few years. Prince George proposes to Mireya, his childhood friend who works in a famous mercenary company the prince fought together with back in the day. Mireya has been very supportive of his claim and has been helping him find a wife - so she's pretty surprised when he asks her!

Instead of an enthusiastic yes, she asks if she can give her answer after a fortnight of her accountants and lawyers looking over how such a decision would change her life.

My five reasons why they don't get together in chapter 1 are:

1) How marrying him will affect her business and family estate, as she is an owning family member in a powerful mercenary company. What will her family be restricted from doing? How will this change everything for them all?

2) Does she want to make her life about being humanitarian and hostess? They challenge each other's expectations on what public service means.

3) The judiciary who supports Prince George's claim to the throne approves of Lady So-and-So as a better match.

4) Insert here a family scandal that affects the public's perception of Mireya's family and company. My stories are all murder mysteries, so I imagine this is where that will come into play.

5) Insert here a lapse in judgement they will have to make up to each other later.

Any feedback would be appreciated. It's entirely from her perspective, since she'll be investigating the murder mystery.

I normally tend to write about non-fiction related topics but recently I've been getting into alot of fiction, especially things romance related but I struggle alot to like my romance related work. I either think it's cringe or I rewrite it over and over again to the point it sounds too robotic and not like the character I'm trying to portray at all. I'm assuming that may be because I've never personally been in a long-lasting relationship, the longest one I've had was for a year when I was in elementary so I have no real experience with it aside from some terrible romance movies I've watched. Are there any tips to make writing romance seem more realistic and not robotic? I love romance books alot but I physically cringe while writing them myself </3

I don't know if I'm allowed to ask questions like this on this subreddit, sorry if I'm not allowed to; still new to this app..