There’s One Thing You Can Absolutely, 100 Percent Rely On, Which Is That If You Show Five Different

How to Write Characters With Romantic Chemistry

Writing great chemistry can be challenging. If you’re not super inspired, sometimes the connection between your characters feels like it’s missing something.

Here are a few steps you can consider when you want to write some steamy romantic chemistry and can’t figure out what’s blocking your creativity.

1. Give the Love a Name

Tropes have a bad reputation, but they can be excellent tools when you’re planning or daydreaming about a story. Giving the romance a name also assigns a purpose, which takes care of half the hard plotting work.

You can always read about love tropes to get inspired and think about which might apply to the characters or plot points you have in mind, like:

Friends to lovers

Enemies to lovers

First love

The love triangle

Stuck together

Forbidden love

Multiple chance love

Fake lovers turned soulmates

There are tooooons of other tropes in the link above, but you get the idea. Name the love you’re writing about and it will feel more concrete in your brain.

2. Develop Your Characters

You should always spend time developing your characters individually, but it’s easy to skip this part. You might jump into writing the story because you have a scene idea. Then the romance feels flat.

The good news is you can always go back and make your characters more real. Give them each their own Word or Google doc and use character templates or questions to develop them. 

You should remember to do this for every character involved in the relationship as well. Sometimes love happens between two people who live nearby and other times it happens by:

Being in a throuple

Being in a polyamorous relationship

Being the only one in love (the other person never finds out or doesn’t feel it back, ever)

There are so many other ways to experience love too. Don’t leave out anyone involved in the developing relationship or writing your story will feel like driving a car with only three inflated tires.

3. Give the Conversations Stakes

Whenever your characters get to talk, what’s at risk? This doesn’t have to always be something life changing or scary. Sometimes it might be one character risking how the other perceives them by revealing an interest or new fact about themselves.

What’s developing in each conversation? What’s being said through their body language? Are they learning if they share the same sense of humor or value the same foundational beliefs? Real-life conversations don’t always have a point, but they do in romantic stories. 

4. Remember Body Language

Body language begins long before things get sexy between your characers (if they ever do). It’s their fingertips touching under the table, the missed glance at the bus stop, the casual shoulder bump while walking down the street.

It’s flushed cheeks, a jealous heart skipping a beat, being tongue tied because one character can’t admit their feelings yet.

If a scene or conversation feels lacking, analyze what your characters are saying through their body language. It could be the thing your scene is missing.

5. Add a Few Flaws

No love story is perfect, but that doesn’t mean your characters have to experience earth shattering pain either.

Make one laugh so hard that they snort and feel embarrassed so the other can say how much they love that person’s laugh. Make miscommunication happen so they can make up or take a break. 

People grow through their flaws and mistakes. Relationships get stronger or weaker when they learn things that are different about them or that they don’t like about each other. 

6. Create Intellectual Moments

When you’re getting to know someone, you bond over the things you’re both interested in. That’s also a key part of falling in love. Have your characters fall in intellectual love by sharing those activities, talking about their favorite subjects, or raving over their passions. They could even teach each other through this moment, which could make them fall harder in love.

7. Put Them in Public Moments

You learn a lot about someone when they’re around friends, acquaintances, and strangers. The chemistry between your characters may fall flat if they’re only ever around each other.

Write scenes so they’re around more people and get to learn who they are in public. They’ll learn crucial factors like the other person’s ambition, shyness, humor, confidence, and if they’re a social butterfly or wallflower.

Will those moments make your characters be proud to stand next to each other or will it reveal something that makes them second guess everything?

8. Use Your Senses

And of course, you can never forget to use sensory details when describing the physical reaction of chemistry. Whether they’re sharing a glance or jumping into bed, the reader feels the intensity of the moment through their five senses—taste, touch, sight, sound, and smell. 

Characters also don’t have to have all five senses to be the protagonist or love interest in a romantic story. The number isn’t important—it’s how you use the ways your character interacts with the world. 

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Anyone can write great romantic chemistry by structuring their love story with essential elements like these. Read more romance books or short stories too! You’ll learn as you read and write future relationships more effortlessly.

The future of communication. (via Expletive Inserted)

Como diria, en una noche estrellada En un camino solitario... Las palabras A aquel amor Que le hace suspirar Con un sello propio Muy de suyo Para denotar esos sentimientos Que surgen Entre la noche bella y oscura

World Building

Creating Land

❂

⥇ agriculture

⟿ what is grown in abundance? how common is farmland? where is the farmland?

⥇ architecture

⟿ what kind of buildings? how tall/spacious? what are they made of? how well made? how well planned?

⥇ animals

⟿ what wild animals are lurking in the area? hunting? any animals affecting the livestock or agriculture?

⥇ biomes

⟿ desert? tundra? grassland? forest? savanna?

⥇ bodies of water

⟿ seas? lake? ponds? rivers? fresh water/salt water? fishing? keep in mind, settlements are often built near bodies of water

⥇ climate

⟿ dry? rainy? temperate? tropical? polar? how have people adjusted to this climate?

⥇ elevation

⟿ altitude? how does the altitude affect lifestyle?

⥇ geology

⟿ rocky? types of rocks?

⥇ landforms

⟿ mountains? valleys? plateaus? plains? hills? glaciers? peninsulas? volcanos? canyons?

⥇ latitude / longitude

⟿ location on planet? how does it affect other elements of land?

⥇ livestock

⟿ common domesticated animals? common animal usages?

⥇ minerals

⟿ any valuable minerals / metals? are they mined regularly? how are they used?

⥇ natural disasters

⟿ earthquake? tornado? volcano? duststorm? flood? hurricane? tsunami? how often do these occur? protocols?

⥇ population

⟿ how many people? how dense is the population? how does the population affect surrounding nature?

⥇ resources

⟿ what is abundant? scarce? how are they used? how available are they?

⥇ sacred land

⟿ religiously important land? historical importance? widely accepted as sacred? how is it honored?

⥇ soil

⟿ good or bad for vegetation? rocky?

⥇ tectonic activity

⟿ earthquake frequency? volcano frequency? trenches?

⥇ topography

⟿ how common are maps? how accurate? how long have they been around? who makes them?

⥇ vegetation

⟿ what is abundant? scarce? what grows easily? with difficulty? what is commonly foraged? who forages? plant types? tree types?

5 Quotes on Editing That Will Always Be Relevant

During January of our “Now What?” Months, we’re here to give you some inspiration and resources as you dive into those daunting edits on your novel. While we usually share lots of advice with you from contemporary authors, sometimes it’s nice to take a look back through history and realize that editing problems have always been the same:

1. James Baldwin

“Rewriting [is] very painful. You know it’s finished when you can’t do anything more to it, though it’s never exactly the way you want it… The hardest thing in the world is simplicity. And the most fearful thing, too. You have to strip yourself of all your disguises, some of which you didn’t know you had. You want to write a sentence as clean as a bone. That is the goal.” 

Keep reading

Ileana, estás bien?

Querida amiga:

Cuántas cosas no han ocurrido desde la primera vez que nos vimos, que fomentaron en mi, el querer relatar una historia para honrar una presencia.

No sabía cómo empezarla, e hice lo que hizo Frida Kahlo, en el sentido de no hablar de otra cosa que no conocía, más que de aquello que sí conocía, y conocía perfectamente: su imagen, su rostro, sus tribulaciones, sus penas. 

Todo, plasmado, en esos recuerdos innumerables de su rostro, y su persona, a travez de las variaciones y momentos de su vida que se ven representados en cada una de los obras de Frida Kahlo.

Y creo que no estuvo mal, porque no conocemos a los otros, pero sí nos conocemos a nosotros mismos sin tratar de presentar posiciones de grandeza, sino de sinceridad.

Entonces el arte, estaba en tratar de engarzar la presencia suya, en algún momento de mi camino, y la serie de sensaciones que provocó la presencia suya en ese viaje, y tratar de pintar los momentos con toda la gama de la escritura, para definirla en ese escrito. 

Me di cuenta que tenía detalles, regalos, vivencias, presencias, comportamientos, diálogos, conversaciones, y quise con ellos, plasmarlos en un escrito, dentro de un glamour que el momento entre usted y yo propició.

Sin embargo, me dí cuenta, que tengo mejores recuerdos de usted en la presencia física, que fue real, que de los que ocurrieron después, y me dí cuenta que la escritura o las presencias en línea, no pueden suplantar lo real, al contrario, desvían de los caracteres y los hacen sumirse en disertaciones ajenas a lo real, siendo lo real, como una luz que cae e ilumina los caracteres.

Déjeme decirle que tengo una hija, y recuerdo que era niña y una vez ella muy enojada por un argumento que tuvimos. Y ya sabe cómo es esto de dejarse llevar por los triggers de imágenes, cuando eres desatendido emocionalmente. Así que fui al comedor y la abracé, e inmediatamente todo desapareció.

Probablemente usted conozca de ello, conociendo de su profesión. 

Me dí cuenta que ya no es la cuestión de tener una verdad o una justicia, sino simplemente de estar, y eso tenía que ver con una presencia real, porque el contacto humano todo lo disipa, es simplemente estar. 

Y con ello le quiero agradecer su estar, en un momento especial.

Quédate con esas relaciones fuertes dónde haya más para agradecer que para olvidar.

Hablando Se Entiende La Gente Video Oficial. 

‘BUENO BUENO QUIEN HABLA’;  Quizá el siglo XXI vaya a ser reconocido, como el siglo, donde las nuevas comunicaciones y los medios sociales sustituyeron al emisor, al hablante, al humano, a la persona, y entonces ya las personas no hablan, sino emiten mensajes pictóricos que suplantan a la palabra, o fotografías posteadas que avalan ideas, o esbozos de ideas en un post que insinúan conductas, o discursos de otros personajes, bajo seudónimos, alias, avatares, Poncios y Pílatos, barajas y cartas, pero el ser humano real es suprimido de la conversación real, porque no quiere asumir la responsabilidad de un discurso, no quiere asumir el “yo esto dije” como manera de ejercer responsable la libertad de expresión, y esconderse mejor, bajo los alias, bajo las cartas, sin recibir la responsabilidad del recibir aprobación o rechazo. 

“BUENO BUENO QUIEN HABLA’ para recordarnos que es el sujeto, verbo y predicado de la oración, los elementos de toda palabra que intenta comunicar un mensaje. Y esto esta siempre presente en todos los lenguajes español, ingles, italiano, francés, porque el sujeto, quiere decir el que habla (no dibujos, no quotes, no pictografías, no palabras de otro) sino es el sujeto el que habla para determinar una acción “Juan corre en el campo” dice que es Juan, un nombre personal desarrolla una acción: pero si se pone una foto de un hombre corriendo en un campo, quien dijo que corre en el campo? La pictografia, o la fotografía no suplanta al sujeto! 

Las nuevas tecnologias de comunicación están suplantando al SUJETO DE LA ORACION, y el  SUJETO DE LA ORACION esta siendo suprimido por Alias, seudónimos, fake names, avatares, cartas y barajas, que traspasan mensajes de otros (no personales, con propia voz) con posts de otros, con ideas de otros y si la comunicación entre los seres humanos es a veces difícil de comprender, sera mas difícil de comprender con las CORTINAS DE HUMO y con personajes y avatares ficticios que comprometen, dificultan todavía mas, la buena comprensión del oyente, que es nuestro objetivo principal de toda comunicación seria.

 “BUENO BUENO QUIEN HABLA’ para recordarnos que debe haber un sujeto real, que emite un mensaje real, avalado por una presencia real y cuyo mensaje dirige a otro ser humano en una disposición de entender, para comunicarse mejor.

Beautiful in all senses