Writing Romance and 9 Lessons from a Debut Author

Rosemi Mederos: 00:01

Welcome to the romantic side of Writing Break. Today, we’re talking about romance, the biggest powerhouse in publishing. Love stories make up more than 30 percent of the fiction market, but romance is not just about falling in love; it’s also about making readers fall in love with the story. It’s about chemistry, conflict, and endings that leave readers deeply satisfied. Today we’ll flirt with the idea of writing love stories that resonate without slipping into clichés. Even if you’re not a romance writer, reading romance will make you a better writer of love scenes and, most likely, a better lover.

The Writing Break cafe is open, the lights are low, and I brought wine. We’ll start with a debut novelist who recently shared her thoughts on dealing with rejection. I think you might like to hear what she had to say. Let’s head inside, shall we?

Esther Walker spent a decade trying to publish her first novel, Well, This Is Awkward. Along the way, she picked up nine things she says she learned the hard way.

I’m paraphrasing here in order to give you a summary rather than reading verbatim, but a link to the full article can be found in the show notes of this episode.

1. Understand this: nobody wants your novel.

The publishing industry is drowning in manuscripts. Agents aren’t waiting by the inbox, praying for your manuscript to arrive. Rejection is the default; do not take it personally.

2. Persistence is the first test.

Walker’s first novel was rejected by 28 publishers. Before that, she experienced a decade of rejections and ghostings. Novelists must be willing to venture on, despite global indifference.

3. Writing a novel is a skill you must learn.

Writing is a craft. You can teach yourself how to write well with the right resources, whether through formal programs or how-to books. Walker says that fiction is not instinct, and while I agree with her that studying structure, pacing, and character development is a good idea, I do think fiction, and all writing, begins with instinct. Writers have an instinct to put the words down, whether in poetry or prose, fan fiction or lyrics. Writing is what feels right to them. For some authors, it’s even a compulsion. I have worked with authors with raw talent, true instinct in knowing how to write a story, and I have worked with authors who were diligent students of the craft. Both types have written impressive things.

You know what? This is a topic for another time because I could go on for a while. Generally speaking, let’s say instinct can only get you so far. As with all things, learning how to do what you’re about to do is a good idea. That’s obvious. But learning how to do it well is what will get you noticed.

4. Be careful with whom you share your work . Friends and family either won’t tell you the truth, or they’ll discourage you for reasons that have nothing to do with your talent. Protect your creative energy.

I would put this one at number 1 on the list. You might remember me saying this exact thing in episode 45, The Biggest Mistake Writers Make. I’ll put a link to it in the show notes.

5. Expect to write entire manuscripts that never go anywhere.

Walker wrote three full novels—240,000 words—that will never see the light of day. This is normal. Sometimes the book that sells is the one you almost gave up on.

6. There is no money in fiction.

According to Walker, a debut advance might be around £4,000—and 15 percent of that goes to your agent. Very few novelists live off fiction writing alone. Most do it because they can’t stop. Ahem, instinct?

7. Praise is rare, and often underwhelming.

If you’re writing to be admired, stop now. Praise is fleeting, criticism is brutal, and reviews can be devastating. The only sustainable motivation is that you have to write.

8. Write something fashionable.

Against all the advice to “ignore trends,” Walker says: lean in. Her debut sold because it was the most modern-sounding book she could write. If you love romantasy, cosy crime, or something similarly trendy, write that.

9. Publishing is a business.

Editors may talk about art, but at the end of the day, decisions come down to sales. As a debut author, you’re not top of the priority list. Don’t take it personally.

These lessons sound tough, but you’ve probably heard it all before or thought it all before. I hope you’re uplifted knowing you’re on the right path and you’re not walking it alone. Your fellow writers are all facing the same truths. But, if you expect rejection, rewrites, and modest returns, you’ll be stronger when success comes.

Again, a link to the full article can be found in the show notes of this episode. Now, let’s get cozy on the Overthinking Couch to learn how to make sure your romance novel has a real shot at stealing hearts.

The propaganda that romance is fluff is false. Romance is about tension, desire, and emotional truth. Romance is fiction in which the central story arc is a love story. But there are parameters, just like in every genre.

Romance readers expect chemistry between the main love interests. They expect obstacles to get in the way of love. And they expect a satisfying happily ever after or happy for now ending. Even if you don’t read romance, or don’t admit to reading romance, a lot of people do read it and they do so proudly, which is at least one reason why it’s important to be acquainted with it. There are readers who are happy to read the same trope over and over to the point that all the stories and characters blend together, and that’s your bread and butter. But to be a romance icon, you have to be giving the readers exactly what they want in an interesting way every time. That is not easy.

First, there needs to be chemistry and conflict. Romance readers can be hard to please, and most of the time a romance novel flounders because readers did not believe there was chemistry between the main love interests. This is where conflict comes in with the assist because sparks don’t matter without resistance. Maybe your characters come from different worlds. Maybe one is hiding a secret. Maybe they can’t stand each other at first. There are many ways to create conflict, such as putting your characters in situations where they want opposite things but need each other to get them.

Likewise, there are many ways to create irresistible chemistry, such as through witty banter, but I caution against telling when you’ve already shown. Let the characters banter and smirk and whatever else–that is showing–but if you say something like, “Jolene enjoyed the way they bantered,” you’ve lost me. Trust your reader to understand what’s happening, and if you think they’re going to miss it, strengthen your writing with better showing rather than weakening it with more telling.

You need both conflict and chemistry to have a great love story. Readers want to feel both the struggle and the reward.

Romance is a genre in which tropes and subgenres are centerstage to a book’s description. Readers love knowing what trope they’re about to read, such as enemies-to-lovers, friends-to-lovers, fake dating, and second chances. We’ll discuss all of the romance tropes and subgenres in episode 17 of this season, but the important thing to remember for now is that tropes are promises you’re making to your readers, and they’re not tired clichés when they’re handled well. Readers don’t mind tropes, in fact, many seek out certain tropes, but readers do mind the lazy execution of said trope. A fake dating story with no fresh spin feels like déjà vu. Your job is to make the tropes feel fresh. Ask yourself: how is my version different? Take a close look at your setting, voice, and conflict. Something there has to stand out. Readers come for the familiar but stay for the unique spin. Choose your trope intentionally.

Know that regardless of the trope you choose, you’re heading toward a happy ending. If you do not want to write a happily ever after story, then you don’t want to write a romance novel. Your novel can have a love story in it, but if it doesn’t end with happily ever after or happy for now, it is not a romance novel. The ending must be emotionally satisfying. I think this is why people come down hard on romance novels. We already know how it’s going to end, why bother reading it? But the constraint of having to write a happy ending means that romance is harder to write than most other genres because if you’re going to rise to the top of the romance heap, the rest of the story needs to be uniquely memorable and well-written with solid, interesting multi-dimensional characters, and an intriguing plot.

Insta-love between your characters is extra tricky to pull off well, and not many romance readers gravitate toward stories with insta-love. Immediate attraction is easily accepted, but if your couple falls in love instantly with no buildup, you’re going to receive a lot of negative reviews. Love takes time, and romance readers want it to take time. Be sure to layer in emotional connection and conflict before your characters commit to each other. Romance works when readers believe in the couple. Without that, the story fizzles out.

Avoid writing flat characters. No amount of physical contact will save a story with stereotypical or one-dimensional characters. Give each character their own goals, flaws, and voice–of course, this goes for all fiction, but beginner romance writers seem to forget that this applies to them as well.

For this week’s overthinking prompt: Imagine a scene where two characters feel undeniable attraction in the middle of an argument. It could be characters from your own work in progress, or it could be something different. Maybe they’re coworkers or neighbors or author and editor. The sparks and the resistance should appear in the same breath.

That’s it for today’s Writing Break. Thank you so much for listening. Please remember to subscribe, leave a review, and join me next week when we explore the magical worlds of fantasy. Until then, remember, you deserved this break.

Thank you for making space in your mind for The Muse today.

Writing Break is hosted by America’s Editor and produced by Allon Media with technical direction by Gus Aviles. Visit us at writingbreak.com or contact us at podcast@writingbreak.com.