On Writing Romance by Leigh Michaels Page A

been pouring money into a faltering business so his employees could continue to draw a paycheck.
    The problems the characters face are important to them — life changing, in fact — but they must also be important to the readers. A story about whether Susie can get Joe to improve his table manners isn't likely to keep the readers on the edge of their seats.
    Main characters should grow and change during the course of a story. Since they are facing life-altering problems and situations, it makes sense that these difficulties will change their perspectives, attitudes, and outlooks on life. The too-perfect character has no room to grow and mature as he deals with problems. But even in their imperfection, main characters have to remain likeable, even admirable, in order to be worthy of a story.
Kind and Gentle Characters
    Heroes and heroines are unfailingly kind to those who are less powerful then they are. They are gentle; even if Aunt Agnes talks incessantly about her health, they don't snap at her or treat her like a nuisance. Heroes and heroines don't kick the dog, no matter how angry they are. And every last one of them has an honorary degree in how to get along with a kid while raising him to be a genius.
    Heroes and heroines don't gossip, and they don't generally take delight in the troubles of others, even when it's the Other Woman and she deserves it.
    They're only rude to each other, and even then, they're not hateful or vicious. Wisecracks and smart remarks are acceptable; cruel taunts are another thing entirely.
    Heroes and heroines don't lie, but they are allowed to be tightfisted with the truth. The hero, in particular, can be deliberately misleading if his motive in not telling all the facts is to protect the heroine.
    The heroine can be equally careful with her level of frankness, sometimes telling the literal truth but implying something entirely different, as Sara does in Miranda Jarrett's historical novella A Gift Most Rare :
    â€œI trust you would confide in me if something were truly wrong, my dear, wouldn't you?” asked Lady Fordyce gently. … “You would tell me if there was a matter I could remedy?”
    Oh, yes, thought Sara unhappily, of course she'd confide in Lady Fordyce. Governesses for young ladies were supposed to possess unblemished and virginal reputations. She'd never told the Fordyces that she'd spent most of her life in India, or that she'd been forced to leave in a rush of disgrace, let alone spoken of her unfortunate entanglement with Lord Revell Claremont. How could she, when any part of her sorry tale could cost her her place — a place she couldn't afford to lose — even with a kindhearted mistress like Lady Fordyce?
    â€œIf there were any ills you could remedy, my lady,” she said with careful truth, “then I should always come to you.”
    Sara doesn't lie — she just allows her employer to believe that she's denied there's any trouble.
Partners and Relationships
    Heroes and heroines don't commit adultery. While they may have divorced, they do not enter into a new love relationship while still bound by a legal or moral commitment to a previous partner. This restriction is largely a matter of common sense. If a person has so little respect for a spouse that he has an affair — whether it's physical or emotional — with someone new, then it's difficult to believe that he would be any more faithful to the new love.
    To a lesser degree, the same rule applies to other emotional commitments. A hero who is engaged is most likeable if the engagement is broken off as soon as he recognizes the attraction to the new partner.
    Whether the previous relationship was ended by a divorce, a broken engagement, a jilting, or a partner's death, the character does not enter a new relationship until there has been adequate time to heal. Rebound relationships often don't last in real life, and they're not convincing in fiction.
    The length of time needed