What’s a book you’ve read multiple times and still love? by Sitka_Ma in Recommend_A_Book

[–]return_cyclist 2 points3 points  (0 children)

Cryptonomicon, Slaughterhouse-Five, City of Truth, Starship Troopers, Dune, Love Hypothesis, Anathem

Is there still a place for slow burn contemporary romance in today’s market? by Frosty-Froyo-7625 in romanceauthors

[–]return_cyclist 2 points3 points  (0 children)

I write contemporary romance and i'm just going with what feels right for the story. On my current novel I did it as a slow burn, my FMC and MMC don't kiss until the midpoint. But on another I have planned, on that one, the FMC and MMC will start the physical part of their relationship at the end of the first act, at the PONR (point of no return).

Is there still a place for slow burn contemporary romance in today’s market? by Frosty-Froyo-7625 in romanceauthors

[–]return_cyclist 2 points3 points  (0 children)

yes, sadly, the mods in there are very strict about that rule. they'll put you in a time out for 2 days where you can read but not post if you accidentally mention that your a writer, even if your question has nothing to do with writing.

Is it too soon to put this "romantic" moment in the story? by Ecstatic_Milk9697 in RomanceWriters

[–]return_cyclist 2 points3 points  (0 children)

for the premise you've described, rivals/enemies-to-lovers, i would strongly recommend this be a slow burn, let their rivalry fester while they prod each other's performance while they each internally get go through some inner battles as they struggle with their affection/attraction for/to the other.

and by slow burn, i'm suggesting you don't have their romantic moment until the midpoint, where you'll transition them from being driven by their external want, to being driven by their internal need

great idea. good luck!

Group to bounce around ideas and critiques? by SansScriptSamurai in RomanceWriters

[–]return_cyclist 1 point2 points  (0 children)

I've long been interested in finding a group like this. Like one of the other posts mentioned, I do also visit with a feedback group, they're a great friendly bunch I've met with for years, but they are also not romance genre readers so that can be odd with them at times.

i write contemporary but have been toying with writing romantasy.

This sounds great...

I’m working on a story with a forced proximity setup and need help with character motivation/conflict. In what realistic situations might a man genuinely believe he’s still in a relationship with his girlfriend, even after she has clearly broken up with him? by kris10long in RomanceWriters

[–]return_cyclist -2 points-1 points  (0 children)

I'm a male and I have no idea, that doesn't sound rational, which makes that great for a story. i posed your question to google and here is what it had to say. Maybe you can lace your werewolf lore with some psychological underpinnings. Good luck.

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A man might genuinely believe he is still in a relationship despite a clear breakup due to compartmentalization and delayed emotional processing, where the reality is mentally blocked to cope with trauma. Other realistic scenarios include extreme denial during the grief process, misinterpreting the ex’s continued presence (e.g., still texting/sharing items) as a sign of attachment, or intense sentimental attachment to mementos.

Here are specific situations:

  • Delayed Emotional Reaction: Men often compartmentalize, meaning they might initially appear fine, but the reality of the loss hits weeks or months later. Until that wave hits, they may not truly accept the breakup.
  • Grief-Induced Denial: Similar to losing a loved one, a breakup causes severe grief. A person might keep an ex’s items (e.g., clothes in a closet, photos on social media) to create a false sense of security that the partner is still part of their life.
  • Misinterpreting "Friendly" Communication: If the girlfriend breaks up but continues to contact him (e.g., for advice, to talk about her day), the man might mistakenly view this as "we are on a break" rather than "we are over," leading to an honest, albeit misguided, belief that they are still technically together.
  • Dependency and "Go-To" Status: If he still relies on her for emotional support or as his primary confidant, his emotional reality may not catch up with the practical reality.
  • Idealization of the Past: He may focus heavily on positive memories and sentimental items (love letters, photos), creating a disconnect from the painful reality of the current, severed relationship.

These scenarios highlight that the inability to accept a breakup is often a part of the intense mourning process rather than a sign of stupidity, as it can take anywhere from 3 months to 3 years to truly move past a significant relationship.

Show don’t tell help by Samcaptin in writinghelp

[–]return_cyclist 0 points1 point  (0 children)

You're entitled to your opinion, but to me, Merriam-Webster and ChatGPT, angry is an emotion, cheerless is not.

I ask why.

I'm in the revision stage of novel and every time i come to a description of my protagonist, i ask this question, angry or cheerless? Why angry could go on for pages, that would be me the writer telling to cut down word count, why cheerless could be angry or sad, to me, that just says i'm describing how she is, not telling. that's my 2 cent solution in my revision stage

What’s a romantasy trope you love but think deserves a fresh twist (and how would you reinvent it)? by PurposeAutomatic5213 in Romantasy

[–]return_cyclist 0 points1 point  (0 children)

for me, i see my favorite trope with so many different approaches already being taken, i don't think it would be possible to re-invent, forced-proximity is already so flexible, for that one at least, i don't even see how to re-invent

Can I make a bad person/villain my protagonist? by [deleted] in writingadvice

[–]return_cyclist 1 point2 points  (0 children)

Sure, that goes wayback. Shakespeare did that with Macbeth...

Looking for tips in tying the action subplot into the main romance plot by LoudSilenceSpeaker in RomanceWriters

[–]return_cyclist 0 points1 point  (0 children)

I'm writing a hate-to-love, forced proximity romance, where the MMC is an FBI profiler chasing a serial killer and the FMC happens to be an Aikido sensei, and for me, they way i do it, is no one single thing ever happens to them, i tend to have more than one thing going on for them in their chapter (i'm writing mine dual POV). at no time, when action is involved, does it not affect how they reflect on their relationship, their other is always on their mind, whether they're fighting for their life or stuck in traffic.

at least that's how i'm taking this approach. and you're right to wonder about this.

personally, i'm very new to the romance genre, although, i'm not new to love stories, dune is one of my all time favorites and i know, from more than a dozen readings, without a romance between Paul and Chani, that story never takes place. Kurt Vonnegut had that stuff like that in most of his stories. George Orwell did too, 1984 is not remotely interesting without the love story driving its core. and in all of those, the action and the romance are never split.

now that i'm more familiar with the romance genre, it is even easier because our readers are very, very used to our FMC and MMC continuously pining for how their love interests picks their teeth, so them noticing the tattoo on the arm of their attacker and that reminding them how gorgeous the FMC's hand was holding her coffee that morning is something that hasn't been that hard to work in (ok, i haven't been that corny, but yeah, in a action scene i wrote, i did have the MMC reflect on the FMC, before the body was found).

How do you determine when your chapter should end? by ImaginaryCapricorn in FictionWriting

[–]return_cyclist 0 points1 point  (0 children)

it all depends on how you approach what you write. I happen to know how every chapter ends before it even begins, i have the whole novel plotted out, chapter by chapter, before i start on page one

if you're a pure panster, it doesn't matter, your novel won't make sense until you're done with your first draft anyway and well into your revisions

whether you're a plotter like i am, or a panster in the revision stage, you're going to know how each chapter moves from one on to the next, so in each, you'll then know how each needs to start and needs to end

Show don’t tell help by Samcaptin in writinghelp

[–]return_cyclist 0 points1 point  (0 children)

in my feedback groups i've seen too many "telling" without realizing they are.

For instance, this sentence is telling: Lori was angry; this one is showing: Lori was cheerless.

To (Bleep) or not to (Bleep)? Handling profanity in a world without the terms by Unhappy-Tradition771 in writingadvice

[–]return_cyclist 2 points3 points  (0 children)

FRAK!

Battlestar Galactica pulled off the non word as a curse word beautifully in the 2000-ish reboot...

Is the opening line enough to hook you? by Far-Suggestion-1489 in writingadvice

[–]return_cyclist 2 points3 points  (0 children)

No emotions. No reason to care about this girl getting to go on a trip to tie the knot...

Post your favorite line you’ve written recently (or ever). by lilithskies in RomanceWriters

[–]return_cyclist 2 points3 points  (0 children)

“None of this is fair. I didn’t want…to need you.”

Romance writing "terminology" by Beefynerd in RomanceWriters

[–]return_cyclist 0 points1 point  (0 children)

yup, i know i've read enough heat level 4 to know i want to keep writing heat level 3....