14 Romance Writing Courses, 10 Days & The Best Things I Learned

Writing stories has never been a problem for me, but I realized that I wanted to write great stories that others would love as much as I do. I thought, "What do I need to know and understand about writing?" I visited the Reedsy platform and clicked on the "Learning" section. I enrolled in the following topics and learned throughout the next ten days. Some things I did know, but others were completely new and eye-opening.

1. Building an Author Blog

2. Novel Writing 101

3. Writing YA Novels

4. Writing Short Stories

5. Writing Dialogue for Plot & Character Development

6. Point of View (POV)

7. Turn Up The Heat in Romance

8. Show Don't Tell

9. Writing Poetry

10. Writing a Children's Book

11. Character Development

12. How to Plot a Novel

13. Writing Romance

14. Writing YA Novels that Sell

If you are interested in learning more about them and want to take the courses yourself, visit the Reedsy Learning Center. 

Building an Author Blog

A blog is more than just a place to write—it’s your creative headquarters. It’s where your stories, your ideas, and your brand meet your audience. And if you're an author like me with big dreams and books to share, it’s also one of your most powerful business tools.

Through blogging, you can:

• Create engaging, authentic content

• Grow organic traffic to your site

• Build a loyal community of readers

• Turn followers into future book buyers

Your blog is your sandbox. It's a space to experiment with voice, test ideas, and connect with readers long before your book hits the shelves.

Step 1: Define Your Brand

Before you publish a single post, take time to get clear on your brand. Why? Because your brand guides your message, your tone, and who you’re speaking to.

Ask yourself:

• What do I write?

• Who is my ideal reader?

• What values or themes show up in my work?

Once you're clear, everything becomes easier—from your blog content to your book marketing.

Step 2: Set Up Your Blog in 4 Simple Steps

Here’s the quick-start guide I wish I had:

1. Define Your MissionWho do you want to reach with your stories? What do you want your writing to do for them?

2. Do a Niche AuditSearch for other author blogs or bookish sites in your genre. What works? What doesn’t? Use it to shape your own unique direction.

3. Create Your Reader AvatarPicture your ideal reader—age, interests, favorite books, social media habits, even what kind of coffee they drink. The clearer the vision, the stronger your voice will be.

4. Choose Your Blog NameUse your author name or something genre-specific. Make it memorable, aligned with your brand, and easy to find.

   
   

Choosing Your Blogging Platform (CMS)

This is where your blog will live, so it’s important to choose a platform that fits your style and goals.

My Personal Pick: Wix

I use Wix and love it. Here’s why:

• Super easy to use

• Beautiful templates that feel modern and minimal

• All-in-one features (hosting, security, design, etc.)

• Less tech stress, more creative freedom

I started with WordPress.org (and it’s amazing for customization and SEO), but I wanted something more intuitive and design-forward. Wix gave me that.

Other popular options:

• WordPress.org – Great for long-term blogging, high control, but more technical.

• WordPress.com – Simplified version with fewer features.

• Squarespace – Also beginner-friendly with elegant design tools.

Essential Blog Setup Checklist

Once you've chosen your platform, here’s what to focus on:

Hosting – Pick a provider to store your blog files (Wix and Squarespace include this)

Theme – Choose a look and feel that fits your author vibe

Security – Some platforms (like WordPress.org) require tools like CloudFlare for protection

Backups – Always have copies of your site

Homepage Layout – Design with your audience in mind—what should they see first?

Consistency is key. Stick to the same fonts, colors, and tone across your site to build trust and reinforce your brand identity.

Top Menu Must-Haves for Author Blogs

Your top navigation bar should be clean and clear. Consider including:

• Home/About – A warm welcome and who you are

• Blog – Where all your writing lives

• Books/Portfolio – A page to showcase or sell your work

• Email List Signup – So readers never miss an update

• Content Categories – 3–5 main themes to organize your posts (like Writing Tips, Behind the Scenes, or Romance Reads)

Wix (and Squarespace) makes all of this easy to manage in one place. No plug-ins or coding nightmares required.

Let’s Talk Content Strategy

Once your blog is live, you’ll need a plan for what to post. Here’s where strategy meets creativity.

Ask yourself:

• What is my audience struggling with?

• What kind of content do they love?

• What emotional connection can I build through my writing?

Pro tip: Do a Google search in your niche. What’s already out there? What’s missing? Fill that gap with your voice.

Write posts that are easy to read, easy to share, and impossible to ignore.

A Quick Word on SEO (Search Engine Optimization)

SEO helps people find your blog through Google—and it works long after you hit “publish.”

Here’s what to focus on:

• Clear URLs (permalinks) — Use keywords or your blog title. Avoid random numbers or symbols.

• Backlinks — Get other trusted sites to link to your blog. You can do this by:

  • Guest posting

  • Being interviewed or featured on podcasts

  • Using sites like HARO (Help a Reporter Out)

• Interlinking — Add links between your own blog posts to keep readers clicking around.

When you publish a new post, go back and link to it from older ones. That gives your content more power over time.

Your blog doesn’t have to be perfect—it just has to be you. Whether you’re building an audience, selling your first book, or just figuring things out as you go, your blog is where your journey unfolds in real time.

Start small. Stay consistent. Speak from the heart.And when in doubt? Write like your future readers are already listening.

Novel Writing 101

Once you publish your first book, here’s the truth: not much changes about the writing process. The only real difference? The pressure to keep delivering.

That’s why it’s essential to write for the right reason. Not because you think it’ll make you rich or famous (though hey, wouldn’t that be nice?), but because you love it. Because you feel compelled to build stories and worlds that only you can bring to life.

If you can finish writing a book, you’ll learn a lot about yourself in the process. But before diving in, ask yourself: Why do I want to write? What am I hoping to share or discover?

Writing a novel is a beautiful, chaotic journey. So, ask the deeper question too: Why this story, and why in novel form?

What Makes a Novel Work?

Novels are immersive. They give space for imagination to bloom. They’re active experiences—deep engagement between the reader and the page.

But here’s the thing: not every idea belongs in a novel. Some stories are better suited for short stories, poems, or blog posts. Novels need depth and complexity—they’re the big canvas that lets you stretch out emotionally, thematically, and structurally.

So how do you start?

Start small. With a character. A phrase. A feeling. A theme. Maybe even just a journal full of snippets. Some ideas will fizzle. Some will simmer for years. Others will demand your attention right now.

Good writers collect these fragments. Great writers return to them again and again until something clicks.

Character + Plot = Where the money's at

Characters and plot are not separate—they’re intertwined. A great story happens because of strong characters. And characters evolve through the plot.

There are three main ways characters often come to life:

• Autobiographical – drawn from your own experiences

• Biographical – inspired by others, researched or real

• Imaginative – fully invented from your own beautiful brain

Most characters are a blend of all three.

And here’s a fun tip: let your characters surprise you. Writing becomes electric when even you, the writer, don’t know what they’ll do next.

The more you know them—their quirks, fears, desires—the more real they’ll feel. And yes, physical appearance matters, too. Descriptions help readers form a visual connection (aka the book boyfriend effect). Some authors keep Pinterest boards or refer to actors as inspiration. It helps!

Your reader keeps turning the page because:

1. They care about who the story is about, and

2. They care about what happens to them

Plot Comes From Character

Plot isn’t a series of random events. It’s a result of what your character wants—and what stands in their way. The harder it is for them to get what they want, the more tension and emotional payoff your story will have.

If you’re struggling with your plot, chances are you don’t know your character well enough yet. Go deeper.

Your story needs:

• A beginning (where something changes)

• A middle (where challenges rise)

• An end (where things resolve)

You don’t have to be a hardcore outliner. Some authors plan everything (planners), others write by the seat of their pants (pantsers). Most of us live somewhere in between.

Don’t Forget Setting

A rich setting isn’t just background—it’s part of the emotional tone of your novel. In some stories, it becomes a character.

If you’re writing fantasy, paranormal, or historical fiction, world-building is essential. Know your world like you know your main character.

Some ways to build believable settings:

• Write what you know—use your hometown or favorite spots

• Visit locations if you can, or use Google Street View

• Research old maps, letters, or newspapers for historical fiction

• For fantasy or sci-fi, root the world in familiar sensory elements to help readers feel grounded

  
  

Go beyond visuals. Think: What does this place smell like? Sound like? What does the ground feel like under your character’s feet?

Writing a novel isn’t about doing it all at once—it’s about showing up, exploring the story, and allowing your characters and setting to grow alongside the plot.

Write because you love it. Because you’re curious. Because you want to connect.

And remember: no one can tell your story the way you can.

Writing YA Novels

If you're drawn to writing Young Adult fiction—whether it's because of the angst, the self-discovery, or the high-stakes emotional drama—you’re in good company. I’ve been there too: staring at a blinking cursor, wondering how to write something that actually connects with teen readers and stands out in the market.

So, I compiled some of the best advice I’ve come across (and tested in my own writing process). These are the golden rules I keep in mind whenever I’m working on a YA novel.

Rule #1: Finish the Damn Book

Sounds obvious, but it’s worth repeating. You can’t edit, pitch, or publish what doesn’t exist. Get the words down. Messy is fine. Awkward is fine. Incomplete is fine. You can’t revise a blank page.

Whether you’re pantsing your way through or outlining like a pro, just commit to finishing. That’s the first and most important milestone.

Rule #2: Read YA Like a Writer

Reading is part of the job.

Even 30 minutes a day adds up and improves your craft. As you read, ask yourself:

• Who’s telling the story and why?

• Is it in first-person or third? What effect does that have?

• How is the story structured—linear, dual timeline, or mixed media?

• Does the dialogue sound like how actual teens speak?

Read widely. Read "bad" books, too—they’re often the best teachers. And don’t just stick to YA. Stretch your understanding of character and voice across genres.

Rule #3: Teen Characters Only, Please

This is especially important if you want to pursue traditional publishing. Agents and editors expect YA protagonists to be teens—typically between 16 and 18 years old.

YA isn't just a book about teens. It’s a book for them.

So, center your story around teen experiences—friendship drama, first love, identity struggles, family issues, school chaos, and more. That doesn’t mean your characters have to be basic. They can be witches, aliens, or dragon riders—but they still need to feel like real teenagers navigating real emotions.

Rule #4: Don’t Water It Down

Some writers worry about including heavy topics like sex, mental illness, grief, or trauma in YA books. But here’s the thing—teens live in that world already. They’re dealing with real issues, and pretending otherwise doesn’t help anyone.

The goal isn’t to glamorize or shock. The goal is to tell the truth.

Books like The Fault in Our Stars and Thirteen Reasons Why didn’t shy away from the hard stuff—they leaned into it, with care and emotional depth. If your story touches on darker themes, ask yourself:

• What am I really trying to say here?

• Does this moment serve the story or is it just for shock value?

• Am I writing this from a place of honesty or preaching from an adult perspective?

Teens can tell when we’re writing at them instead of to them. Keep your characters grounded in their emotional reality. They’ll make mistakes—sometimes huge ones—but that’s what makes them relatable.

Rule #5: Use Tropes (But Twist Them)

We’ve all seen the cheerleader, the jock, the nerd, the rebel... and that’s okay. Tropes exist because they work. But if you want your story to stand out, don’t stop at the surface.

Give your characters layers. Maybe the cheerleader moonlights as a vampire slayer. Maybe the golden boy has a secret he’s terrified to reveal. Your job is to dig into the “why” behind who they are—and then show us the cracks in the mask.

Tropes are your starting point. Complexity is where the magic happens.

Feeling stuck? Try writing a journal entry from your character’s point of view. Or do a quick interview with them. Discover what they want, what they fear, and what they’re hiding. When your characters feel real, so will your story.

Whether you’re working on your first YA novel or your fifth, remember: it’s not about teaching a lesson. It’s about showing what it means to be young and figuring life out—one messy, honest, beautiful chapter at a time.

Have a YA project in the works? I’d love to hear about it in the comments

Writing Short Stories

We all know what a short story is. But the real question is: what should a short story be? And what makes one better than the next?

As an author in love with long-form storytelling, I used to overlook short stories. But let me tell you: they’re more than warm-ups or side quests. They can help you land an agent, build your writing chops, and—yes, really—make money. Most importantly, they teach you to be sharp, intentional, and emotionally precise.

Because here’s the truth: short stories are where you learn to say just enough—without losing the magic.

Why Every Author Should Write Short Stories

Short stories demand clarity. You can’t ramble. You can’t take 10,000 words to figure out your character. You’ve got to know what the story is about—then deliver it in a way that hits.

But don’t let the word count scare you.

Even in 2,000 or 20,000 words, you still need the bones of a full story:A beginning. A middle. An end.Conflict, voice, stakes, emotion—all of it matters. Just...tighter.

Writing short stories shows you where you over-explain, where your dialogue drags, where your pacing gets muddy. You become a better editor. A better storyteller. A better writer.

The Real Secret? Voice, Not Plot

It’s not about writing a groundbreaking subject—it’s about how you tell it.

We’ve all heard “write what you know.” But it’s more than a cliché—it’s a power move.

• Authenticity hits harder. When it’s real to you, it feels real to the reader.

• Confidence fuels creativity. When you write from experience, you trust yourself more.

• Specificity makes it universal. Weirdly enough, the more personal your story feels, the more it resonates.

You are the secret sauce. Your voice, your lens, your way of telling stories—that’s what makes it fresh.

Depth in Fewer Words? Hello, Iceberg Theory.

When you don’t have room for five backstory flashbacks and a subplot about a cursed necklace, what do you do?

You hint.

Think Hemingway’s Iceberg Theory: most of the story lives beneath the surface. That’s where short stories shine.

Want your characters to feel real, even in just a few scenes?

• Create a character bible. Jot down their goals, fears, quirks, and voice. You’ll write them faster and more consistently.

• Make every detail count. Their gestures, their speech—those are your tools.

Characters don’t need pages of exposition. They just need truth—in action, in tension, in voice.

Your Reader Has a Short Attention Span—Respect It

One of the best pieces of advice I’ve ever received?

Start close to the end.

Short stories don’t have time to warm up. If the story’s about a fistfight, open with the punch, not the car ride to the bar.

Grab your reader in the first line. Then don’t let go.

The Golden Rule: Start Strong, Stay Sharp, Finish Tight

Here’s the deal:Don’t publish the first draft. Or the second.

Take a break. Let it breathe. Come back with new eyes. The “meh” lines will stand out—and you’ll be ready to replace them with something better.

Great writing lives in the revisions.

5 Fast Edits to Tighten Any Short Story

1. Cut the obvious. You don’t need to repeat what’s already been established. Trust your reader.

2. Delete the echoes. If you’ve said it twice, pick the cleaner sentence and move on.

3. Show it, don’t name it. Don’t say “he was angry.” Show clenched fists, a twitch in the jaw, silence like a loaded gun.

4. Trim the drama. One strong moment of tension is better than five weaker ones.

5. Simplify your tags. “He said” works. Let the dialogue and action carry the tone.

Short stories are like poetry with plot.Every word matters. Every emotion is distilled.

And when done well, they’re unforgettable.

So if you’ve never written one—or haven’t written one lately—consider this your sign.And if you’re working on one now? I’m cheering for you.

Let me know in the comments—are you team short story, team novel, or trying to balance both?

Writing Dialogue for Plot & Character Development

Let’s be honest—readers can spot bad dialogue from a mile away. Whether it’s characters info-dumping like a Wikipedia page or sounding like robots, awkward dialogue can drag a story down fast.

But great dialogue? Great dialogue breathes life into your characters and moves your story forward.

If you're anything like me, you want your characters to leap off the page—real, raw, and unforgettable. So here’s what I’ve learned about making dialogue work for your story, not against it.

What Dialogue Should Do (Besides Fill Space)

The best dialogue isn’t just filler. It’s active. It:

• Makes your characters distinct—no two should sound alike.

• Pushes the plot forward—not just by saying what’s happening, but by doing something in the moment.

• Reveals conflict and emotion—whether subtle or explosive.

• Creates tension and intimacy—through silence, subtext, and tone.

Think of it like eavesdropping on a really good conversation—where every word carries a little weight, and what’s not said matters just as much as what is.

Avoid the Dreaded Info-Dump

Ah yes, the infamous “As you know, Bob…” moment. It’s when a character awkwardly explains something the other person (and probably the reader) already knows.

We’ve all written it. We’ve all cringed.

Instead, try this:

• Turn it into an argument. Conflict makes dialogue lively.

• Make characters compare notes. Let them debate or question what they know.

• Let someone be out of the loop. Exposition feels more natural when one character genuinely doesn’t know what’s going on.

• Switch to narration. Sometimes it’s better to just tell us in a quick sentence and move on.

Use Subtext Like a Pro

Subtext is the art of saying something without saying it. It’s how your characters communicate the real stuff—the fear, the desire, the regret—without spelling it out.

Good subtext:

• Hints at what’s unspoken.

• Foreshadows future events.

• Reveals tension and hidden motives.

In other words, let your characters lie, evade, flirt, or stay silent—and let the reader feel what’s really going on underneath.

Conflict = Chemistry

Conflict in dialogue doesn’t mean constant bickering (though let’s be real, that can be fun). It means tension. A push-and-pull. A difference in values, desires, or intentions.

Here’s why it matters:

• Reveals character under pressure.

• Makes your scenes emotionally charged.

• Drives the story forward, even in small moments.

Whether it’s romantic tension or high-stakes drama, conflict gives dialogue its “damn” factor.

Give Every Character a Unique Voice

Let’s talk voice—not yours, theirs. Every character should sound like themselves. And how they speak should tell us something deeper:

• Their personality

• Their mood or mental state

• Their background or culture

• What sets them apart from everyone else

Even small things like word choice, rhythm, or a favorite phrase can make them unforgettable.

Bonus tip: use speech shifts (more formal, more clipped, more chaotic) to reflect growth, regression, or emotional change throughout the story.

Handling Dialect & Accents With Care

Yes, dialect can add depth—but it has to be done right.

• Dialects are regional. If your character is from New Orleans, they probably won’t sound like someone from Manchester—unless there’s a reason.

• Avoid phonetic spelling. It often comes off as offensive or distracting.

• Use grammar patterns instead. A non-native speaker might mix tenses or drop articles, for example.

• Keep it subtle. Less is more. Let accent or dialect flavor the dialogue, not overpower it.

Think of it as seasoning. Enough to taste, but not enough to overwhelm.

Good dialogue does more than sound pretty. It builds tension, reveals character, and keeps the reader glued to the page. In romance especially, it’s where chemistry lives and secrets slip out.

So write it messy. Rewrite it better. And let your characters speak in ways that make readers feel something.

POV

If you’re a storyteller like me, then you’ve probably asked yourself: How should I tell this story? Point of view (POV) is one of the most powerful tools we have as writers. It’s not just about who’s talking—it’s about how close we let readers get to the heart of our story.

POV defines the connection between writer and reader. It determines how much we reveal, how intimate the experience feels, and how much trust we build—or break—along the way.

Here’s a breakdown of the most common POVs, along with some pros, pitfalls, and examples to help you decide what works best for your story.

First-Person POV: Inside the Character’s Head

First-person narration uses I/me/my, putting readers directly inside a character’s mind. This is one of the most emotionally immersive POVs—ideal for romance, YA, or any story driven by internal growth.

In traditional first-person, the narrator is the protagonist. Readers experience only what the main character sees, thinks, and feels. They can’t witness anything outside of that character’s perspective.

This works beautifully when you want readers to form a deep emotional bond with your lead. It’s especially powerful in present tense, where every moment unfolds in real time.

Peripheral First-Person: Watching from the Sidelines

This version of first-person puts the narrator in the story, but not at its center. Think Nick Carraway in The Great Gatsby. Jay Gatsby is the star, but we experience his story through Nick’s eyes.

Why use this POV? Because sometimes your protagonist isn’t the best storyteller. Maybe they’re too flawed, too detached, or not very likable. A side character’s perspective can soften the edges and provide just enough distance to keep readers invested.

But remember: your narrator can only describe events they witness. If your protagonist does something important off-page, the narrator won’t know—unless they’re told later (and even then, it’s filtered through their perception).

The Unreliable Narrator: Fun, Tricky, and Full of Secrets

Writing an unreliable narrator is like handing your reader a puzzle. They’re inside the main character’s head, but they can’t trust everything they see.

Why are they unreliable? It could be:

• Mental instability

• Naïveté (think: a child or sheltered character)

• Non-human POV (yes, aliens count)

• Or… they’re lying—intentionally or not

In truth, all first-person narrators are a little biased. But with an unreliable one, readers have to dig deeper, second-guess what they’re told, and uncover hidden truths between the lines.

If you use this POV, make sure to give your audience some sense of reality—something to anchor them. Otherwise, it can feel chaotic or confusing.

Great examples: Gone Girl, The Girl on the Train, The Secret History

Limited Third-Person: The Camera-on-the-Shoulder Approach

This is a favorite in modern fiction—and for good reason. Limited third-person allows you to follow one character closely (he/she/they), revealing their thoughts, emotions, and experiences without fully becoming them.

It’s like being right behind them with a camera: close enough to feel what they feel, but with the freedom to describe scenes, body language, and atmosphere from the outside.

Bonus: it reads as a bit more objective than first-person, making it perfect for multi-POV books or genre fiction where emotional distance is sometimes needed.

Just watch out for narrative distance. Are you zoomed in on internal thoughts? Or zoomed out, focusing on the scene around them? Shifting without warning can be jarring, so be intentional.

Omniscient POV: The God’s-Eye View

Omniscient narration gives you total freedom. Your narrator knows everything—every character’s inner world, every secret, every twist. They can jump across time, space, and scenes with ease.

Sounds powerful, right? It is—but it’s also risky.

If you jump between characters’ heads too quickly (a mistake called “head-hopping”), readers may get confused. To avoid this, give readers time to settle into one perspective before switching to another. Make transitions clear and purposeful.

Omniscient POV works well in epic fantasy, sweeping historical fiction, or literary stories with a more classic tone.

Final Thoughts

Choosing your story’s POV is more than just picking a pronoun. It’s about how close you want your reader to be, what you want them to know, and how much of the truth you’re ready to reveal.

Each POV carries its own magic—and its own limitations. The key is to match your narrator to your story’s heart. What do you want your readers to feel? Who do you want them to trust?

Start there. The rest will follow.

Turn Up The Heat in Romance

Let’s talk about heat — not just the kind that makes you blush, but the kind that keeps your readers flipping pages, hearts racing.

When it comes to writing steamy romance (especially erotic romance or erotica), sex isn’t just sex. It’s storytelling. And the best spicy scenes don’t just turn up the temperature—they deepen connection, move the plot forward, and leave readers wanting.

What Every Spicy Romance Needs:

• Build-up

• Setting

• Sexual Tension

• Flirting

• Will-they-won’t-they moments

• Real consequences (Yes, even for side characters sometimes.)

Steamy scenes only work when they matter. They should serve your characters, your story, or—ideally—both.

Know Your Heat Level: Erotic Categories at a Glance

• Porn: All about sex. Story is optional, character development minimal.

• Erotica: High-quality writing, structured plots, and deeper emotional themes—but still focused on sex.

• Erotic Romance: A full romance arc with emotional stakes, character depth, and… yes, very steamy scenes.

📌 Reminder from bestselling author J. Armentrout: Only write what you’re comfortable with. If sexy scenes make you cringe, skip them—or write them your way.

The Problem with Stereotypes (and Why They Still Work…Sometimes)

We all know them: the broody alpha, the feisty heroine.And yes—they can work.

• Alpha Hero → Think Christian Grey

• Independent Heroine → Think Bernadette Blackbird

These archetypes aren’t bad. But balance is key. Your characters should feel real, even if they play with classic tropes.

Let’s Talk Sexual Tension

That charged glance, that electric silence, that moment where one step closer would mean everything changes.

Sexual tension is foreplay for your story. And it’s essential—especially in steamy romance.

But remember: Quick and dirty isn’t the goal.We want readers invested, squirming with anticipation, not skipping pages.

3 Ways to Build Sexual Tension:

1. Body Language – A lingering touch, a bitten lip, a subtle lean.

2. Physical Awareness – She notices his jawline. He notices her perfume.

3. Sensory Detail – The low rumble of a voice. The warmth of breath. The soft brush of skin.

If your characters are trying not to fall for each other? Perfect setup.

Think banter. Think chemistry. Think The Hating Game by Sally Thorne—chef’s kiss.

Your Tension Toolkit:

• Banter: Snappy, clever, often with a flirty (or filthy) edge.

• Conflict: Push-pull dynamics = built-in heat.

• Innuendo: Double meanings. Less is more.

• Subtext: What’s not being said. The denial. The ache. The burn.

Use all of them. Stir. Watch the sparks fly.

But Wait—Where’s the Conflict?

Conflict = Chemistry. Without it, there are no stakes. No tension. No sizzle.

1. Intrapersonal Conflict

Commitment issues. Emotional walls. Fear of vulnerability.

2. Interpersonal Conflict

Enemies-to-lovers. Exes-to-lovers. Office rivals. You know the drill—and it never gets old.

3. External Conflict

Outside forces pushing them together (or pulling them apart): illness, war, job loss, family secrets.

Every conflict is a chance to raise the heat. To make their union harder… and more satisfying when it happens.

Crafting Erotic Scenes That Count

Every spicy scene should reveal something. Otherwise? It’s filler. And your readers will know.

Before writing:

• What’s their motivation? (Love? Escape? Curiosity?)

• What’s the emotional undercurrent?

• Why now? Why this moment?

After writing:

• What’s changed?

• Are they closer? Further apart?

• Did it complicate things?

• Did it matter?

Even if it’s subtle, it should shift the story.

Final Word: Don’t Let the Spice Dilute the Meaning

Whether you’re writing fade-to-black or graphic intimacy, your scenes should always matter. They should do what great romance always does: make us feel, make us ache, make us hope.

If it deepens the love story, brings the characters closer (or further), or reveals something essential—it belongs.

If it’s just there for sizzle? Turn the heat into substance.

Because when tension, desire, and storytelling come together?

That’s the kind of romance readers never forget.

Show Don't Tell

As writers, we hear it constantly: Show, don’t tell. But what does that actually mean—and more importantly, how do you use it to write richer, more emotionally resonant stories?

Let’s break it down.

What Is “Show, Don’t Tell”?

Put simply, showing means letting the reader experience the story through your characters' actions, thoughts, dialogue, and the world around them. Telling, on the other hand, gives facts or summaries without inviting the reader to feel or picture the scene.

📖 Instead of saying: The moon was shining.

Try: Silver light spilled across the ground, casting long, delicate shadows through the trees.

That version lets the reader see it, feel it, and sink into the atmosphere.

Writing Is a Sensory Experience

To write immersive fiction, especially in romance where emotion and atmosphere are everything, tap into the senses:

• Sight: Color, light, movement, detail

• Sound: Music, silence, background noise

• Touch: Texture, temperature, physical tension

• Taste: Food, desire, memory

• Smell: Perfume, earth after rain, something burning

Want to go deeper? Here are some less obvious senses that can level up your scenes:

• Proprioception: Balance, swaying, falling

• Interoception: Heartbeat, shivering, tight chest

• Emotional Perception: Vibes, unspoken tension in a room

• Time/Spatial Awareness: Feeling lost in time, or claustrophobic in a crowded hallway

Example:

What you’re feeling here isn’t just touch—it’s anticipation, reaction, intimacy. It’s interoception in action. It draws the reader into the body of the character.

Show, Don’t Tell Meets The Iceberg Theory

Ernest Hemingway’s famous Iceberg Theory says that good writing reveals only a sliver of what’s beneath the surface. It trusts readers to feel the weight of what isn’t said.

Blend the two by anchoring what's unsaid in physical, emotional, or sensory detail.

Use SDT + the Iceberg Theory to:

• Hint at past dynamics

• Keep readers curious

• Let subtext do the emotional heavy lifting

  
  

Atmosphere, Setting, and Character Filters

Setting isn’t just scenery—it’s emotionally charged. Show how the dark night affects your character. Use their internal state to filter what they notice.

Instead of writing “It was a dark night,” try:

And let the character move through the space. A walk through rain hits differently for someone heartbroken than it does for someone in love.

Dialogue: Show With Subtext

Dialogue isn’t just characters talking—it’s characters revealing.

Bad:

Better:

This does triple duty: shows frustration, character voice, and relationship dynamics—all without explaining a thing.

Every line should:

• Sound like the character (word choice, pacing, quirks)

• Reveal the relationship (flirty, tense, sarcastic)

• Have a goal (to impress, to push away, to win)

Also? Use body language. Interrupt long dialogue with action beats that show how the characters are feeling—even what they’re not saying.

Movement = Emotion (Yes, Even the Setting)

People move. Rooms move. Tension moves.

This isn't just action. It's character development.

Even your setting can carry emotion. Enemy ships gather on the horizon? That’s dread. A broken wine glass on the floor? That’s aftermath. Movement creates mood.

Final Tip

Your job isn’t just to tell the story—it’s to make the reader feel like they’re living it.

• Use action to express emotions

• Let setting amplify tone

• Let what’s unsaid be as powerful as what’s spoken

Whether you’re writing a soft-spoken daydreamer or a spicy, magnetic vampire, showing is what gives them breath, heartbeat, and presence on the page.

You’ve got this.

Writing Poetry

Poetry is the language of being human. It’s where emotions and thoughts meet in the same space—an act of discovery, rooted in curiosity and play.

As a romance author, I spend a lot of time writing prose, but poetry is where I go to feel. It’s the breath between the chapters, the pulse behind the plot. And whether you’re writing sonnets or steamy scenes, poetry has a way of sharpening your voice and making every word count.

Prose vs. Verse (and Why Both Matter)

Let’s start with the basics.

Prose is your everyday writing—paragraphs, dialogue, narration. It’s how we talk, how we tell stories.

Verse, on the other hand, has rhythm and structure. It lives in lines and stanzas. It breathes differently. Most traditional poetry is written in verse—but that doesn’t mean you can’t blend the two.

You can. And you should.

• Verse novels are stories told entirely in poetry.

• Prose poetry looks like a paragraph but reads like a poem—full of imagery, rhythm, and emotional weight.

As poets (and writers), we get to choose where we break the line. That break? It’s powerful. It changes tone, creates emphasis, evokes rhythm, or lets a single word echo.

Want to Try It? Start With Constraints

Sometimes, the best creativity comes from having limits. One of my favorite poetic practices is blackout poetry—where you only use the words already on the page to create something new.

Here’s how to try it:

1. Pick Your Source Text: A flyer, an old email, a book page, a receipt. Anything.

2. Scan for Words: Don’t try to understand the full meaning. Just circle the words that resonate.

3. Choose a Theme: Or let one find you—freedom, shame, desire.

4. Build a Narrative: Use your selected words as anchors. Add connective tissue (and don’t be afraid of space and ambiguity).

5. Let Silence Speak: Don’t worry about full sentences. Let pauses and spacing do their magic.

   
   

When Form Becomes Visual

Sometimes poetry is more than words—it’s art on the page.

This is where figure poetry comes in. It’s when the shape of your poem reflects its message or mood.

• Calligrams form shapes with curved lines of handwritten text.

• Concrete poetry incorporates graphic elements and typography.

• Even small spacing choices can create rhythm, tension, or intimacy.

If you’ve ever read George Herbert’s Easter Wings, you know exactly what I mean. The poem looks like wings—and that shape deepens its meaning.

Playing with Poetic Form

There’s no one way to write poetry. But here are a few forms worth exploring:

• Villanelle – A 19-line poem with repeating lines and a tight rhyme scheme (ABA). Great for themes like obsession, longing, or inner conflict.

• Haiku – 3 lines, 5-7-5 syllables. Simple, yet profound. Often tied to nature, emotion, or sudden insight.

• Free Verse – No meter. No rhyme. Just flow. It’s what most contemporary poets use.

The form you choose shapes the soul of your poem. Some writers thrive with structure. Others need freedom. There’s no wrong way—only what feels right.

Poetry Lives in the Body

Here’s something I’ve learned through writing: poetry doesn’t just come from the mind—it comes from the body.

Grounding your work in physical sensation—touch, taste, smell, the rhythm of breath—makes it real. Describing the scent of rain on pavement or the heat rising in your chest pulls the reader closer. It doesn’t limit your poem—it liberates it.

Whether you're a fiction writer looking to deepen your craft or someone who simply wants to express what words often can't, poetry is a beautiful place to begin.

Let it be messy. Let it be raw. Let it be yours.

Writing a Children's Book

As a romance author who also teaches English, I’m always curious about storytelling across genres—and age groups. Lately, I’ve been diving into the world of children’s and teen books, and let me tell you, it’s an entirely different playground.

Whether you’re thinking about writing a picture book or planning your next YA fantasy, understanding the age categories, tone, and expectations is essential. So, here’s a breakdown of what I’ve learned—and what to consider if you’re dreaming about writing for a younger audience.

Children’s Book Categories at a Glance

Let’s start with the basics. In publishing, children’s books are typically divided by age group:

• Picture Books – under 5 years old

• Early Readers – ages 5–7

• Middle Grade (MG) – ages 8–11

• Teen (also MG or YA crossover) – ages 12–13

• Young Adult (YA) – ages 14+

Each category comes with its own word count range, voice, and storytelling expectations. So let’s break them down.

Picture Books (Under 5)

These are sweet, simple, and often surprisingly profound. Think 500 words or less and 20 pages max. The text is minimal—illustrations do most of the heavy lifting.

To write a strong picture book:

• Keep your language simple but not simple-minded.

• Think like a poet: every word counts.

• Tell your story spread by spread.

• Use rhythm, imagery, and playful repetition.

Picture books can be silly, warm, emotional, or whimsical—but they should all leave a lasting impression.

Early Readers (Ages 5–7)

This category bridges the gap between read-alouds and independent reading. Kids are just starting to sound out sentences on their own, so structure and clarity are everything.

Early Reader tips:

• Word count: 2,000–5,000 words

• Simple chapter structure (Beginning → Middle → End)

• Keep illustrations clean and expressive

• Use patterns and familiar story structures

Popular themes:Secrets. Magic. Rebellion. Cuteness. And yes—series are gold here. Once a kid bonds with a character, they want more.

Middle Grade (Ages 8–11)

Ah, the middle school years. Full of awkwardness, curiosity, and self-discovery.

Middle Grade novels usually land between 30,000–50,000 words, with strong, voicey characters navigating themes like friendship, belonging, good vs. evil, light romance (PG only), and identity.

Your characters should be:

• Bold, curious, and a little rebellious

• Struggling with real emotions in an age-appropriate way

• Learning how the world works—sometimes the hard way

The best MG books tackle big feelings with warmth, humor, and hope.

Teen Fiction: MG or YA?

Books for 12–13-year-olds often blur the line between MG and YA. Here’s how to tell where your story belongs:

Choose wisely—and remember, even if you’re self-publishing, categories help readers find you.

Young Adult (YA): The Chaos and the Magic

YA is a huge, competitive category—read by teens and adults. Your readers are emotionally invested and sharp. They want to feel seen.

The sweet spot? 70,000–90,000 words.Unless you’re writing a fantasy epic, try not to go beyond 100K.

YA writing should feel:

• Immediate (First person present tense is popular)

• Fast-paced and emotionally charged

• Rooted in the real world—even in fantasy settings

• Centered on teen characters (Adults stay in the background)

YA stories thrive on variety, moral complexity, and depth. Romance? Bring it. Identity? Yes. Swearing, sex, rebellion? If it’s true to the character—let it happen naturally.

Final Thoughts

If you’re thinking of writing for kids or teens, research the market. Read what they’re reading. Understand their humor, fears, and hopes. And then write with heart.

I’ve always said that great storytelling is about connection. And no matter what age group you write for, that’s the thread that ties us all together—writer, reader, and every character in between.

Character Development

Characters are the heartbeat of any great story.

No matter how thrilling your plot is, if your characters fall flat, your readers won’t stick around. We fall in love with stories because of the people inside them—their flaws, their hopes, their contradictions, and the little things that make them feel real.

So how do you create characters readers want to root for, cry with, and maybe even punch in the face (in the best way)? Let’s break it down.

Make Them Feel Human

Readers connect with characters who feel familiar, even if they’re from another world. That means quirks, unique voices, layered personalities, and yes—imperfections. Your main characters should feel like they existed before page one.

Whether they’re funny, fierce, shy, chaotic, or somewhere in between, they need depth. The same goes for your villains. In fact, a truly memorable antagonist is one readers can empathize with—even if they don’t agree with them. Think less “evil for evil’s sake” and more why they became who they are.

Give Them Goals, Fears, and Secrets

Characters need a clear motivation—something they want deeply. That desire becomes the engine of your plot. Conflict happens when something (or someone) stands in their way.

Here are a few questions to get you going:

• What do they want more than anything?

• What do they fear losing?

• What do they crave, hate, or love?

• How do they handle stress?

• What secret do they keep from others—or from themselves?

Don’t shy away from contradictions. People are messy, and your characters should be, too.

Which Comes First—Plot or Character?

Honestly? There’s no right answer.

• Plot-first: You craft a story world and build characters to serve the plot. Great for high-concept genres like fantasy or sci-fi.

• Character-first: You start with a person, and the story unfolds from their choices, desires, and conflicts. This is especially powerful in emotional, character-driven genres like romance.

Whatever your process, just make sure both character and plot are developed before you dive into draft one. They work best when they grow together.

Build a Backstory That Shapes the Present

A strong character doesn’t appear out of nowhere—they come with history.

Your protagonist (and antagonist) should have:

• A childhood that shaped them

• One or more defining moments

• A wound, fear, or memory that still impacts them today

You might not include all of this on the page, but your readers should feel that it’s there.

Not sure how to start? Try one of these methods:

• The Bubble Map – Put your character’s name in the center and branch out with traits, memories, relationships, etc.

• The Q&A List – Ask questions like “What’s their biggest regret?” or “What lie do they believe about themselves?”

• The Free Write – Set a timer and just write in your character’s voice about their past.

Don’t Just Describe—Define

We’ve all read character descriptions that list hair color, eye color, and maybe a few adjectives. But those aren’t what readers remember.

What do they remember?

• Signature gestures (Do they bite their lip when nervous?)

• Recurring habits (Do they tap their pen when thinking?)

• Symbolic details (A worn leather jacket from their late dad, a necklace they never take off)

And yes, you can describe their looks—just go deeper than “tall and hot.”

Conflict + Empathy + Dimension = Unforgettable

The best characters—yes, even the ones we love to hate—have three things in common:

• Dimension: They’re layered. They’re not always right or always likable—and that’s the point.

• Conflict: They struggle internally as well as externally. Their choices carry weight.

• Empathy: Even the villains have a reason for being who they are.

When you create from a place of truth—your own emotions, your observations, your imagination—your characters come alive.

Want to keep your characters from feeling like cardboard cutouts? Remember this:

Your readers don’t fall in love with a character because they’re perfect. They fall in love because they’re real.

Messy. Honest. Flawed. Brave. Just like us.

12. How to Plot a Novel

Behind every good story is a strong foundation. And for writers, that foundation is structure. Think of story structure like a blueprint—not the fully built house, but the guide that holds everything together while giving you the creative freedom to decorate each room your way.

When I started outlining my first series, I realized how crucial it was to know not just what happens, but when and why. That’s where structure comes in.

Let’s break it down together—whether you’re plotting a spicy romance, a slow-burn paranormal love story, or your first novel ever.

The Three-Act Structure: A Writer’s Best Friend

The most popular structure in fiction (and one I use often) is the Three-Act Structure. It’s clean, flexible, and works across genres.

ACT I: The Beginning

This is your reader’s first taste of your story world—and it needs to hook them.

• The Hook – That first spark. What draws your readers in? Maybe it’s a line of dialogue, a character’s unusual situation, or a mysterious vibe. Whatever it is, it needs to make us care.

To write a strong hook, introduce:

• Your protagonist

• Their everyday life

• A small but meaningful conflict

Then comes the shift...

• The Inciting Incident – Something changes. Your character's normal life is disrupted. Maybe a sexy stranger walks into her bakery, or her quiet world is flipped upside down by a haunting discovery. Whatever it is, it pushes her forward.

Ask yourself:

• What is my character dissatisfied with?

• What fear or flaw holds them back?

• What external moment challenges that status quo?

• The First Plot Point – Now we’re in it. This is where your protagonist makes a choice—or is forced to—and steps into the story’s deeper conflict. There’s no turning back.

ACT II: The Middle (aka The Messy, The Drama)

This is the longest act in your novel—full of drama, tension, and emotional growth.

• Pre-Midpoint Rising Action (from 25% to 50%)

  • Your protagonist faces opposition. They try, they fail, they doubt.

  • Relationships deepen. Conflicts get more personal.

  • The pressure builds—on the outside and the inside.

In this stage, your character is still reacting. She doesn’t quite have a plan yet. But she’s learning, struggling, growing.

Then comes the Midpoint, around the 50% mark. It’s a game-changer.

This is where your main character:

• Encounters a direct challenge or confrontation

• Makes a shift from reactive to proactive

• Realizes what's truly at stake

It’s that moment when she says, “Okay, I’m not running anymore. I’m going to fight for what I want.”

This is where your story transforms—and so does your character.

13. Writing Romance

Writing Romance with Backbone: What Makes a Love Story Great

A strong romance novel needs strong bones—characters who feel real, a plot with heart and heat, and enough emotional depth to keep readers turning the page. But let’s be honest: there’s no secret formula for writing a bestseller. (Wouldn’t that be nice?)

Instead, we start with a question every romance writer needs to answer:

What kind of romance do you write?

Romance is a big, beautiful genre, but specificity is everything. What kind of stories do you love reading? Which ones feel like home?

For me, it’s Romantic Comedies, Paranormal Romance, and Erotic Romance. So when someone asks, "What do you write?"—I say exactly that.

Each of these is a sub-genre with its own flavor, pace, and audience. Choosing yours will help you write with clarity and confidence, and pitch your book to the right people when the time comes.

Writing Paranormal Romance? Buckle up.

Paranormal romance tends to be longer than contemporary or rom-coms, and for good reason—worldbuilding. You’re weaving together two full arcs: one romantic, one supernatural. That means higher stakes, layered storytelling, and often... a series. It’s ambitious. But when done well? It’s magic.

Building Characters Readers Love (and Lust Over)

At the heart of every good romance is a book boyfriend—or book partner—who’s more than a trope. Readers want to fall in love. Give them someone worth swooning for.

What makes a strong hero (or MMC)?

• He’s not a stereotype.

• He has quirks, flaws, and a backstory.

• He makes mistakes—and learns from them.

• He has something to overcome (hello, redemption arc).

• He grows through love.

Now, let’s talk about the heroine.

She’s not just “the girl.” She’s half the story. If she’s underdeveloped, the entire book feels hollow—no matter how dreamy the hero is.

She needs:

• Depth and desire: what drives her?

• Strength with softness: can she be tough and vulnerable?

• A journey: she should grow just like the hero does.

Tension ≠ being unlikable. We want fire, yes—but we also need motivation. Don’t make her snarky for no reason. Make her guarded because of something we get—past heartbreak, family pressure, imposter syndrome. The more we understand her, the more we root for her.

POV in Romance: Why It Matters

Most romance novels are written in dual POV—one chapter in the heroine’s head, the next in the hero’s. Why? Because the reader wants to feel everything from both sides of the love story.

Dual POV gives your story balance and emotional depth, but only if it’s done right.

Tips for writing dual POV:

• Switch perspectives based on who has the most at stake in the scene.

• Give each character a distinct voice (word choice, tone, inner world).

• Use third-person limited for emotional flexibility.

• Stick to past tense (it’s the industry norm in romance).

Tropes Are Tools (Not Clichés)

Readers love tropes—childhood friends to lovers, fake dating, enemies to lovers. They’re not tired. They’re familiar frameworks that readers adore... when done with heart.

The secret? Don’t rely on the trope. Use it as a trigger for transformation.

Take “unexpected pregnancy.” What shifts when it happens?

• Does the heroine even want kids?

• Does the hero have trauma around family?

• How does it force them to grow?

That’s the story. Not the pregnancy—the change it causes.

Look for tropes that open emotional doors:

• Moving back to a hometown

• Inheriting a business

• Becoming a guardian

• Facing family illness

These aren’t just plot devices. They’re catalysts for intimacy, tension, and growth.

Crafting the HEA That Feels Earned

Romance requires a Happy Ending (HEA or HFN). But it only lands if the conflict feels real—and the characters evolve to deserve that ending.

Every romance needs:

→ Internal conflictThe emotional wound or belief that holds your characters back from love. Maybe the hero doesn’t believe he’s worthy. Maybe the heroine is afraid to be vulnerable. These need to be confronted before love can win.

→ External conflictThe obstacle outside of themselves: a job, a secret, a family feud. Something that forces them to choose each other again and again.

→ The climaxWhere internal and external collide. Either:

• The plot resolution triggers personal change.

• Or the character’s growth unlocks the external solution.

After that: the grand gesture, the emotional payoff, the swoony final scene. That’s the HEA readers wait for—and remember.

Whether you’re just starting your first draft or finessing your final edits, remember: romance isn’t about following a formula. It’s about leading readers on an emotional journey. The tropes, the tension, the dual POVs—they’re tools. The heart of the story? That’s yours to write.

14. How to Write YA Novels That Sell

Young Adult (YA) novels are stories centered around teen protagonists, typically for readers aged 12 to 18. Naturally, you’d assume teens are the primary audience—and you'd be right. But they’re not the only ones.

Plenty of adults read YA, too. And interestingly, while teens practically live on their phones and tablets, print books still dominate this space. There's something about holding a story in your hands that hasn’t lost its magic.

But here’s the thing about YA readers: they want authenticity. They’re looking for characters and plots that reflect the raw, messy, beautiful experience of growing up. So if you’re thinking about writing in this category, your number one job is to keep it real.

The Traditional Publishing Path (a quick breakdown)

If you’re aiming for traditional publishing, this is generally the path:

1. Author to AgentYou finish your manuscript and send out query letters. An agent requests your full manuscript, falls in love with it, and signs you.

2. Agent to EditorAfter revisions, the agent submits your work to acquiring editors. If an editor is interested, they bring it to the acquisitions board.

3. Acquisitions BoardThey ask the big questions:– Will it sell?– Does the author have a platform?– Is this a good fit for our brand?

Final say? Sales potential. Your book has to prove it can make money.

Quick Myth Bust: YA Is Not a Genre

Let’s clear this up: YA is a category, not a genre. The age of the protagonist and the target audience define it. But you still need a genre—romance, fantasy, thriller, etc.—especially when you're pitching agents or editors. “Sort of sci-fi with romance and magic” won’t cut it.

Contemporary and fantasy are currently top performers in YA.

Tropes: Your Secret Weapon

Tropes aren’t bad—they’re storytelling patterns that readers recognize and love. Think:– The love triangle– The chosen one– Fairy tale retellings

They bring comfort and clarity to a story. Tropes don’t box you in—they guide your readers in.

In YA, It’s the Characters That Count

Plot and worldbuilding are important, but if your characters fall flat, the story crumbles. YA is all about identity, desire, and figuring things out. That’s the emotional heartbeat.

What Makes a Strong YA Character?

• Desire – They want something, big or small. Want = emotion. Emotion = connection.

• Need – They need something deeper they haven’t realized yet. That’s where the growth arc comes in.

• Imperfection – Nobody likes a perfect protagonist. Readers want flaws they can relate to.

• Quirks – Little things that make them memorable. A habit, a phrase, a vibe.

What to Avoid

• Characters who are flawless or too competent

• Stereotypes and lazy tropes (especially around race, gender, or identity)

• Cardboard cutouts with no depth, voice, or inner life

Create characters that feel human, not heroic.

Craft Matters, Too

Readers don’t usually notice pacing or structure—unless something feels off. Then? Game over.

Common Craft Issues in YA (and How to Fix Them)

1. Bloated Word Count: 100k+ in contemporary YA is a red flag.Fix: Cut scenes that don’t drive the plot. Streamline subplots.

2. Snoozefest Start: If the story only gets good in Chapter 10… start there. Fix: Trust your reader. Begin where the action begins.

3. Plot Whiplash: Twists that come out of nowhere = confused readers.Fix: Foreshadow key turns. You want surprise, not confusion.

Before you leave, don't forget that you can find these FREE writing courses for authors on Reedsy Learning.