WHAT I LOOK AT IN ROMANCE

Chemistry & Attraction

Romance begins with connection. I look at what draws the characters towards each other, whether that attraction feels believable, and whether the relationship develops in a way that gives readers something to invest in.

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This may include:

• initial attraction

• chemistry

• banter

• emotional connection

• physical attraction

• shared vulnerability

• compatibility

• romantic tension

• relationship progression

• whether attraction feels mutual and convincing

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Character Development

The strongest romances usually work because both characters feel like complete people outside the relationship. I consider their motivations, emotional wounds, fears, desires, internal conflicts, and how the relationship changes them over the course of the story.

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Feedback may cover:

• individual character arcs

• emotional growth

• motivations

• internal conflict

• backstory

• self-sabotage

• vulnerability

• attachment and trust

• personal stakes

• supporting characters

• whether each romantic lead feels equally developed

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For dual-POV romance, I also look at whether both viewpoints feel distinct, necessary, and emotionally engaging.

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Romantic Tension

Romantic tension is often what keeps readers turning pages. I look at whether the relationship has enough anticipation, uncertainty, vulnerability, conflict, and emotional friction to sustain reader interest.

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This can include:​

• slow-burn pacing

• unresolved attraction

• emotional restraint

• forbidden desire

• jealousy

• proximity

• conflict

• near-misses

• emotional intimacy

• push-pull dynamics

• whether romantic milestones arrive at the right time

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The goal is to build anticipation without making the relationship feel artificially delayed.

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Conflict

Romantic conflict should feel meaningful rather than manufactured. I look at what keeps the characters apart, whether those obstacles arise naturally from who they are and what they want, and whether the conflict evolves rather than repeating itself.

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This may include:​

• internal conflict

• external obstacles

• miscommunication

• incompatible goals

• family pressure

• social expectations

• past trauma

• career or lifestyle conflict

• trust issues

• power imbalances

• whether conflict is sustained for too long

• whether resolution feels earned

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I also look closely at misunderstandings and separations to make sure they feel emotionally credible rather than simply convenient for the plot.

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Plot, Structure & Pacing

Romance still needs a strong story outside the relationship itself. I consider how the romantic arc interacts with the wider plot and whether the manuscript maintains momentum from beginning to end.

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This may include:

• plot structure

• pacing

• scene purpose

• relationship beats

• external plot

• subplot integration

• midpoint development

• third-act conflict

• climax

• resolution

• whether the relationship progresses too quickly or too slowly

• whether the story loses momentum between major romantic moments

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I also look for common pacing problems, particularly slow openings, repetitive middle sections, rushed emotional breakthroughs, and endings that move too quickly after the central conflict is resolved.

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Emotional Progression

Readers need to feel the relationship changing. I look at whether the emotional arc develops gradually and whether important turning points receive enough space on the page.

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Feedback may include:

• trust

• vulnerability

• emotional intimacy

• fear of rejection

• commitment

• emotional breakthroughs

• relationship setbacks

• reconciliation

• declarations

• emotional payoff

• whether important moments feel earned

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The aim is to make sure the relationship does not simply move from attraction to love without enough emotional development in between.