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Black Dragon submitted a new blog post:
Weaving a Romantic Thread
This article is by by B.K. Bass, and is presented by Worldbuilding Magazine.
We’ve all been there: the butterflies hit our stomach, although that’s too kind a term, as it feels more like a pack of angry badgers scratching to get out. Our heart thumps like the drums of an orcish warband. Sweat breaks out on our brow in what we hope is a glistening sheen but eventually runs down our face in rivulets. There’s somebody we’d like to talk to, but the anxiety kicks in even thinking about it.
Romance is a difficult thing. It’s filled with all sorts of social nuances, unwritten rules, and unspoken body language that even a master of the craft would be hard-pressed to translate. Often, mastering this enigma is a central goal in many of our lives; or if not, it is a major secondary goal. Why then should this be any different for the characters in our stories?
There’s a lot of people giving writing advice these days, and if you’ve been paying attention, you’ve probably heard this: “You have to have a romantic subplot in your book, no matter what it’s about.” I’m going to start by setting the record straight and saying that this is rubbish. By no means should you feel obliged to wedge a romance into an otherwise fully developed narrative. Imagine a perfectly crafted stone tower. What would happen if you tried to...
Continue reading the Original Blog Post.
Weaving a Romantic Thread
This article is by by B.K. Bass, and is presented by Worldbuilding Magazine.
We’ve all been there: the butterflies hit our stomach, although that’s too kind a term, as it feels more like a pack of angry badgers scratching to get out. Our heart thumps like the drums of an orcish warband. Sweat breaks out on our brow in what we hope is a glistening sheen but eventually runs down our face in rivulets. There’s somebody we’d like to talk to, but the anxiety kicks in even thinking about it.
Romance is a difficult thing. It’s filled with all sorts of social nuances, unwritten rules, and unspoken body language that even a master of the craft would be hard-pressed to translate. Often, mastering this enigma is a central goal in many of our lives; or if not, it is a major secondary goal. Why then should this be any different for the characters in our stories?
There’s a lot of people giving writing advice these days, and if you’ve been paying attention, you’ve probably heard this: “You have to have a romantic subplot in your book, no matter what it’s about.” I’m going to start by setting the record straight and saying that this is rubbish. By no means should you feel obliged to wedge a romance into an otherwise fully developed narrative. Imagine a perfectly crafted stone tower. What would happen if you tried to...
Continue reading the Original Blog Post.