Minor spoilers for every version of Fullmetal Alchemist.
So you want to write a fantasy story. As a fantasy and sci-fi author, I heartily endorse this.
Fantasy is a huge genre, encompassing a ton of tropes, subgenres, and rules. But a near-universal trait of fantasy is the use of magic. I mean, if a story doesn't have magic, can it even really be considered fantasy?
But writing magic is a bit daunting. So much has already been done, how do you stand out? What rules should you put in your magic system to make it interesting but not constricting? How do you make it fit with the rest of your world?
Those are all big questions, and each of them probably deserves its own blog post. But we're going to tackle all of them here, so buckle up.
Hard vs. Soft
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And before you ask: yes. Twenty plus books on the NYT Bestseller list and she still gets rejection letters.
And that's okay! Rejection is a part of life, after all. It's just a slightly bigger part of a writer's life. So get comfortable with it, because this relationship is going to stick around for a while.
The first thing you need to do: stay calm.
Think of finding a publisher as house-hunting. There's a lot of time spent online doing research, you're probably going to want to find an agent to act as your guide, and there's going to be a lot of rejection. Sometimes it's because you don't like the house. Sometimes someone else swoops in right before you can sign the paperwork. Sometimes you find out you can't afford it.
Feel free to grumble, complain, and vent. Then once you've got that off your chest, go back to the computer and find another publisher to submit your manuscript to.
Remember that it's nothing personal.
How do editors decide which 'scripts make the cut? Well, that's a little complicated. I'm no editor myself, but here's what I've heard second-hand:
1) They want what's going to sell.
Editors want to read a good book, for sure, but quality isn't that important. At least, not in the way it is to us artsy-brained writers. You could submit the most intense, insane, engaging novel, but if the editor doesn't think their publishing house is going to be able to sell a lot of copies, you're going to get rejected.
A lot of it has to do with the market. Remember when vampire stories were freaking everywhere? The audience for that was huge. But now? Not so much.
It's all about supply and demand. Editors look for types of stories that are in high demand, whether that's grimdark/realism or more light-hearted fantasy. So long as it fits in with the needs of their publishing house. Speaking of which...
2) They want manuscripts that are best for their publishing house.
This is why researching a publisher before you submit anything is so important. Let's say you have a post-apocalyptic YA novel. Would you submit that to a publishing house that specializes in historical dramas? Of course not. Genre is very important. Just as writers specialize in specific genres and stories to tell, publishers specialize in specific genres and stories to sell.
So the historical drama house rejected your 'script. Shocker. But that's okay! You've found another publishing house, this one specializing in YA novels that have a lot of action, adventure, and cute romantic subplots, all of which your book has in abundance. You submit it and think, They're going to love this!
Aaand you get rejected.
But why? You've matched the genre to the right house, and even the type of story they like.
Well, the thing is, this publishing house has been doing a lot of post-apocalyptic books. They don't want their readers to get bored, so right now they're looking for YA urban fantasy novels.
Does it suck? Yes, it does. And getting rejection after rejection does wear on you. This is why finding a literary agent is so important: they can help you side-step a lot of these issues. You'll still run into them, but not as much.
Do not give up.
One of the publishing houses I've worked with in the past, Less Than Three Press (I wrote a novella for them that got in one of their anthologies), recently came out with a call for submissions. They wanted stories about shifters--i.e. werewolves, werecats, etc.--with disabilities. Any disability. And since they specialize in queer fiction, several major characters had to be a part of the LGBTQ+ community.
I was all over this. I've spent the last two years working as a community support staff--that is, a job coach and PCA for people with disabilities. I'm always down to write about characters in marginalized communities. And I've worked with LT3 before and knew that not only do they pay well, they're also very competent.
Now unfortunately, these calls for submissions have deadlines. Although I heard about it relatively early, there was still only two months for me to write, and I work two other jobs, plus this blog and YouTube channel. Nevertheless, I managed to crank out a fun story about an ordinary, asexual human trying to survive college who finds out that the girl with social anxiety that he has a crush on is a werewolf, and she's playing cat and mouse with a hunter a god complex.
I sent it in the day of the deadline and went to take a long nap.
About a month later I got an email from the editor.
It was a rejection letter.
BUT. But, this rejection letter had something so few of its brothers have. It had constructive criticism. The editor found two glaring flaws that barred it from acceptance, suggested that I fix them now that I wasn't adhering to any type of deadline, and told me to re-submit as a general submission.
Now remember: editors don't have time to do this kind of thing. So when they do take the time to offer some feedback on your manuscript, you shut your mouth and listen.
I took a few more months to fix the story, going over not just the problems the editor pointed out, but others that I found and just didn't have time to address with that pesky deadline. Once I was satisfied, I re-submitted.
About a month later I got an email from the editor.
It was a contract!
So now the good people at LT3 are editing my 'script, and soon enough I'll be bugging you guys with promos about my new ebook tentatively titled Hunted.
Rejection letters suck. They can wear on your self-esteem like a river cutting a ravine. But they're also what separates the "aspiring authors" from the actual authors. Take criticism seriously and apply it to your story. Keep looking for agents. Keep submitting to publishing houses. Just keep going.
However, a lot of writers don't know how to pull this off. Either they're too heavy-handed with the murder, or don't murder enough, or they do kill a bunch of characters but then they bring them all back in the next chapter, making the whole thing moot and their readers feeling bored and cheated.
Part of the difficulty with character deaths and resurrections is that it's been used so many times by so many authors that it can be hard to convince readers that a character is actually dead--even if they really are! But that's just one piece of the puzzle.
Another issue is that authors often refuse to kill their characters when they really should, usually because they're too emotionally attached to their characters or want an unrealistically happy ending where everyone lives happily ever after, screw the fact that they started the series with a string of excellently written deaths. This is a problem I had with the otherwise very good Throne of Glass series: Sarah J. Maas had a cast of a dozen major characters in the last book, Kingdom of Ash, and she should have killed at least half of them. Instead she knocked out a handful of minor characters, the impact of those deaths lessened because of the sheer number of survivors. Basically, the "hard-won" victory felt too easy.
So don't be afraid to do kill some characters. You just have to make sure you're doing it right and avoiding the common pitfalls. There's a whole jungle of obstacles involved in both convincingly (and correctly) killing off characters, and in bringing them back. So buckle up, because today we're going to be talking about murder.
Killing Off Characters
One of the biggest pitfalls in killing off characters is doing it purely for the shock value. This is wrong for a number of reasons. The first is that it's been done before. Worse, readers will recognize when a character is killed purely for shock value and stop reading, because they don't want to be emotionally manipulated like that. It draws too much attention to the hand of the writer.
And I get the temptation to do this. I've done it myself. My novella Homestead Hunts involves a cannibal society, and I killed off two major characters in the first act to help establish this. One of them had to go for story and plot purposes, but the other did not. It was purely shock value, and looking back, I'm not sure I'd kill that character--or if I did I'd do it differently.
The second reason, and the biggest problem, is that characters who are killed off purely for the shock value aren't actually characters. They're rarely well-written, because literally their only goal in the story is to die. When they're badly written, readers don't care whether they live or die, and so the shock factor the author was going for in killing them is dramatically reduced. It destroys the whole point of killing them in the first place.
Some people think George R. R. Martin kills so many characters for shock value. But that's not true at all. Each character that dies is killed for a reason. Usually it's some sort of character flaw or a fatal mistake (or a string of fatal mistakes, in the case of Robb Stark). Other times they were outmaneuvered by other characters (i.e. Lady Olenna, the Queen of Thorns). Major character deaths are also used as plot points. While the first skirmishes of the War of Five Kings started with Catelyn kidnapping Tyrion, the actual start of the war was the execution of Ned Stark. If he had lived, Robb would have turned the northern armies back, and while things certainly would have been salty between the Starks and the Lannisters for a while, there wouldn't have been a war.
This is another thing to consider when killing off a character, either for real or for a fake-out: how do the other characters react? Sometimes the character dying will be well-written, but the aftermath will be glossed over. If this is supposed to be a beloved character with friends and family, then we need to see those friends and family mourn. How do they deal with that person's death? Do they go on a quest for vengeance that ultimately leads to the slaughter of thousands? Completely break down? Actually process it in a healthy way and then get blind-sighted and feel betrayed when the death turns out to be a fake-out? People mourn in all sorts of ways, so you get to play around here.
But the first thing you need to consider when killing off a character is if they actually have character, even if they're only going to be around for a handful of chapters. Are the readers emotionally invested in this character's life? Do they care if they live or die? Do the other characters care if they live or die and will they actually mourn the death or shrug it off? If they don't, then you have a major problem with that character that needs to be fixed before you do anything else.
But let's say your readers do care about your character. They're invested in their cause and want to see them succeed. The second question you have to ask yourself is Why am I killing this character? If it's purely for shock value, then you need to reconsider. Readers didn't care for that trick when it was new, and it's been used to death already. Instead, consider why, in universe, this character would die. Do they have a flaw that other characters can exploit or that you're trying to explore in your writing? Is there a major plot point coming up that would turn out differently if the character were alive? Is this character's life a natural consequence of the events in your book (like a war), or the consequence of another character's wrath/ignorance/fault? If the answer to any of these questions is yes, then congratulations! You have a legitimate reason to kill your character.
Now the question is how. This one is tricky, and honestly not something that can be summed up in a neat little blog post. How you kill a character varies from character to character and story to story. It's a delicate balance between dragging it out for so long that the audience rolls their eyes and mutters "Get on with it" (i.e. Han Solo), and glossing over it completely, sometimes by killing them off-screen. This is where editors and trusted beta readers come in handy. But for some honest advice? Just do what feels natural.
I know Avengers: Endgame hasn't come out yet, but we all know that everyone who got dusted in Infinity War is coming back, and not just because we have previews for the next Spider-Man movie and confirmed deals for Doctor Strange and Black Panther sequels. A lot of it has to do with the genre. The only person who ever stays dead in the superhero world is Ben Parker. Everyone else either has a resurrection ability (Loki), enjoys faking their death for shits and giggles (Loki again), or has a hand-wavy serum that allows them to endure a ton of punishment that would be fatal to anyone else (Bucky). There's also cloning, time travel, magic, glowing purple plants, mutant abilities, and a plethora of other methods, each one whackier than the last.
So if we all know that Spider-Man, the Guardians, T'Challa, and everyone else will be coming back next week, why did Marvel kill them off in the first place? Well, for starters, it's an emotional gut-punch. Over the last ten years we've become emotionally attached to these characters, which the writers have no suddenly taken away. We're now extremely invested in seeing those characters come back, which is why we're all going to be throwing our money at the nearest movie theater and sitting in the dark for three hours straight. The other reason is for the arcs of the surviving characters. This is the first time the Avengers have well and truly lost. Every other time they've fought, even if they were at each other's throats two minutes ago, they've been able to pull themselves together and defeat evil at the last minute. Except this time, when it mattered the most, they failed. They're going to have to come to terms with that before going anywhere near Thanos.
But the main reason audiences tend to call the writers' bluff when it comes to fake-out deaths is more than just the established rules of the genre. The fact is, characters who die and are slotted to be resurrected tend to either a) be too important to actually die, and/or b) have incomplete story arcs. No one wants to get caught up in the trials and mysteries of a character, only to have that character die before they can finish. Readers will just get pissed. It's why everybody knew that Jon Snow was going to be resurrected in season six of Game of Thrones. He was simply too important to the story, and R+L=J was too big of a mystery to leave unsolved.
Usually, the best way to convincingly kill off--or make readers think you're going to kill off--your character is to make it look like their arc is complete, or at least that another character will be able to pick it up and continue. Then, when the character is revived/revealed to not be dead at all, you get to introduce a new arc for them.
If they really were dead and magically resurrected, what are the psychological implications? How has the experience affected their religious beliefs and that of those around them? Does it make them more compassionate and cautious, or do they go the other way and become reckless and apathetic, or even full-on evil like Pet Sematary?
If they were just playing dead and came back without warning, how does this affect their relationship with the friends and family they lied to? What are the sacrifices they made to pull off the fake death? Was it worth it?
While death and near-death experiences are very common--both in fiction and in real life--it's no small thing. You can't just gloss over it; it leaves an impact. Which means it's a new conflict for characters to grapple with, and conflict is a good writer's playground.
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Guest Post by JD Byrne
Wait, what? I mean, that’s pretty counterintuitive, isn’t it. The whole point of fantasy is that you can make up anything you want. Whereas its close relation science fiction has to deal with, well, science, fantasy is only limited by the imagination of its writer. So why worry about it being realistic?
One reason is that it’s practical. Unless you’re writing something really avant garde and creating a different world from the ground up, even the most fantastic stories take place in a world that looks a lot like ours. Middle Earth may have hobbits, dwarves, and orcs, but it still has a world that works basically like ours - people need to eat and sleep, have to figure out ways to get from one point to another, and figure out how to get along with each other. All of those things are rooted in our experiences of our real world. After all, you can’t have a second breakfast without a concept of breakfast, right?
Another reason is that details matter when it comes to the most important part of speculative fiction - suspension of disbelief. In fantasy, more so than science fiction, the author is basically asking readers to trust them, to come along with whatever weird stuff is going to happen just because. Still, there are things, little details, in any story that can kick a reader right out of a state of disbelief (I’ve written before about what I call “flying snowman” moments, after a John Scalzi blog post). Maybe your fantasy heroes are riding horses into battle after they rode 100 miles in two days without any mention of food, water, or rest. For some readers that might kick them out of the story.
It’s not that you can’t have something in your fantasy world that does the job of a horse but doesn’t need rest or nutrition, but you have to build that up on its own. There’s a difference between getting a fantasy element “wrong” - if such a thing is possible - and getting mundane real world details that are still relevant to your world wrong. A two-foot tall pixie probably can’t wield a five-foot long steel sword, but who says the sword has to be made of steel? It doesn’t, but you need to lay the foundation for that. It’s sort of like the old saw about learning the rules before you can break them - you need to know why you’re doing it differently and consider whether it’s worth it.
While research is necessary to write good fantasy, it doesn’t have to be a chore. In fact, sometimes doing the research can open ways to deepen your world and help make the story better. Let me share a couple of examples where that’s happened to me.
In my novel The Water Road a pair of characters are out in the woods searching for a mythical city in the trees when they’re set upon by bandits. One of them, Rurek, takes an arrow in the leg from the bandit leader, Spider. I never intended the wound to be fatal, so once it was in Rurek’s leg I had to figure out how to get it out. I’m so glad I did some research rather than just going with my gut. Turns out how to deal with an arrow wound is largely dependent on the kind of arrowhead is involved and there are some really nasty ones out there, ones designed to inflict maximum damage if taken out incorrectly.
That made me think - what kind of arrow would a guy like Spider use? It made me drill deeper into the character than I had initially. He only shows up for this scene, after all, and was hardly that important in the grand scheme of things. But using an arrow designed to do maximum harm, particularly to someone who would react as I had (pull the damned thing out!), is precisely the kind of guy he was. The research allowed me to complicate Rurek’s situation even further (and allow a new, important character, to show some knowledge and skill) and give some idea of just what an evil person Spider was.
In my short story “The Destiny Engine” (which you can only get by signing up for my mailing list), the main character has a massive steampunk contraption that, he says, can see a person’s other possible futures. He has to input data into the machine at some point, so I initially had him sitting down at a typewriter-style keyboard. A beta reader wondered whether such keyboards were in wide use in late 19th-century Wyoming where the story was set.
I looked into it and, as it turns out, keyboards were a thing back then, but they hadn’t standardized into anything like we know today. Instead, there was a wide range of size, design, and functionality. I found a picture of one that was basically a brass globe with keys sticking out the top on long stalks, so typing on it looked kind of like giving a robot a scalp massage. So while it wouldn’t have been wrong to put my main character in that story in front of something that looked like a typewriter, how much cooler was it to have him manipulating a brass robot skull!
Since research is important for writing fantasy, what’s the best way to go about it? There are several options, depending on what it is you need to know.
First, you can draw on your own knowledge of whatever area it is you need to research. That’s kind of cheating, but a knowledge base is a knowledge base, regardless of where it comes from. When it came time to write the battle scenes in The Endless Hills (the second part of The Water Road trilogy) I fell back on the reading I’d done my entire life about battles from various conflicts in the 18th and 19th centuries. I looked up a couple of things, but it was to confirm more than learn from scratch.
This is as good a place as any to amplify a piece of advice I’ve heard almost every writer give - that to be a good writer, you need to be a serious reader. I’d expand that to say it’s important for writers of fiction to read a lot of nonfiction, too, to learn about the world around them. Not only do you broaden that internal knowledge base you can use while writing, sometimes history or science or whatever can provide some pretty good fuel for future stories.
A second good place to go for research is other writers. Writers each bring their own experience and knowledge to the table, which can be a powerful resource to tap into. The example I gave above of needing to know how to get an arrow out? When I went to Google to find the answer the first result it returned to was to a subsection of a writers’ forum where people shared their expertise. Writers tend to be a helpful bunch, so make the most of what those around you know.
Third, you can take advantage of the knowledge of experts in whatever field you’re looking into. Sci-fi writers routinely consult with physicists, rocket scientists, and the like in order to get the science in their stories right (or at least plausible). Fantasy writers can do the same. Setting a story in a world that’s based on feudal Japan? Find the nearest college or university that teaches Japanese history and reach out to the professor. They might be happy to talk to someone about their subject who is writing a novel about it.
Finally, when it comes to research, there’s always the option to hit the books, whether literally or electronically. Google is great, but be skeptical of sources and weigh competing information carefully. Books are even better, if you’ve got access to a good library somewhere close. You can even go and spent time in places that inspire the world you’re building. Want to set a story in a castle - go visit one! It’s easier said than done, of course, but it can be done.
Research sounds a lot like work and sometimes it is. Sometimes you’ll find out things that torpedo an idea or a particular story element. More often, you’ll shore up your own world, deepen you characters, and maybe even find something to spark your creativity even further. It’s worth the effort and your readers will thank you.
Brainstorming new blog post ideas
Or maybe you're new to blogging, haven't even set up the website yet, and are frozen in terror because, what? You're supposed to do this every week if you want a following? More? Where do you even start?
Worry not, friends! Like so many other bloggers online, I am writing this post to help you answer that very question. When you're staring down the white screen of death, dreading the impending deadline, how do you come up with a juicy topic that will satisfy your readers?
I actually struggled with this question myself. Minutes before writing this very post. And several more times throughout my blogging career. Procrastination is a fine art, lovelies, one that I have mastered. As such, there are several tips that you can use.
Tip #1: Keep an Ongoing List
But now that time was gone, and I hadn't refreshed the buffer zone. I now had to come up with a completely new topic, and I had to do it now if I wanted time to actually write the damn thing.
Luckily, I plan for such emergencies. I also have the habit of writing down every thought that goes through my head. Which is why I keep an ongoing list of potential blog posts in my journal.
For me, this list is divided in two parts: topics on how to write, and commentary on the SFF genre. Obviously I also do book reviews, too, but as I write those down as soon as I close the book and then schedule them as needed, they don't need to be listed.
Some topics never leave the list, because they can be written over and over again. My "Top Ten Sci-Fi and Fantasy Books" or "Favorite Horror Movies for Halloween" are constantly changing as I consume more media. I can bust those out every few months and they'll never grow old. Lists are an old favorite of bloggers for this very reason.
Other topics can really only be done once or twice (like "How to Come Up with Your Next Blog Post") before your audience gets bored, so it's important to keep this list up to date! Keep your journal handy wherever you go, especially if you're browsing your chosen topic online. If you're writing a blog about fishing, and you see a YouTuber give bad tackling advice to their audience, write down what that topic is so you can write a post about it later. Or if you read a post that brushes on a particular subject but doesn't really get into it as deeply as it should, write that down and come back to it later.
Ideas can come out of nowhere: random conversations with friends and family, reading a fantasy book and thinking Man, this author doesn't know shit about characterization, or even just going for a walk outside and suddenly getting hit with an idea while listening to Imagine Dragons. Keep a list. Keep it close. And when you're in a bind and need a blog idea fast, you'll have a bunch of options to choose from.
Tip #2: Ask!
Never be afraid to tell your readers that you've been hit with writer's block and need their help. In fact, readers love it. I know I do. Some of my favorite YouTubers are constantly putting up surveys asking "Which video do you want me to do next" with a variety of topics to choose from. It's great for the audience, because we get to actively participate and feel like we're being heard and cared about by someone we look up to. And it's great for the creator, because they get an insight into what their audience wants them to talk about.
You can also ask your readers at the end of each post something along the lines of "Let me know what other topics you'd like me to cover" or "Feel free to ask me any questions you have about XYZ!" This will be another source of potential blog posts that you know you readers will want to read about, because they're literally asking for it!
Tip #3: Interviews & Guest Posts
But there's another reason that interviews and guest posts are a good idea, and that is strategic laziness. Once you've secured an interview/guest post to appear on your blog, your work is pretty much done. The other writer is the one who has to do all the heavy lifting! Once they send it to you, it's just a matter of minor editing, copy, and paste.
If you run a weekly blog like I do, this means that you get a whole other week to figure out what the next post is going to be, or in my case, quickly finish reading a book so I can review it in time. And like the ongoing list of blog post ideas, if you collect enough interviews and guest posts, you can store them away for emergencies or schedule them for busier weeks, thus giving you some breathing room while also keeping your readers satisfied. Plus you get a network connection and you're promoting a fellow blogger. Everyone wins!
Tip #4: If All Else Fails: Re-Publish
As a matter of fact, I had planned on doing just that for the most recent Bitch Shelf article "Superhero Movies that Fight Toxic Masculinity." Originally, I was going to give them one of my first posts on this site, "Toxic Masculinity in Superhero Movies." But the thing is, LSQ has a pretty strict word count with its columnists, and my old post proved to be too long. I couldn't cut it down to size without losing vital information, so instead I focused on one part of the post: the ending. I had ended that post with a handful of superhero movies that, at the time, were the only ones I knew that actively fought or defied toxic masculinity. This was before Black Panther, Incredibles 2, and Spider-Man: Into the Spider-Verse came out.
So now I had a much more positive, better idea for an article that was better suited to the word count and got new information that hadn't been available two years ago. It took about fifteen minutes to write and send to LSQ--along with a second, panicked email a while later, because I had originally forgotten that Spider-Verse was a thing.
But other Bitch Shelf articles, especially the earlier ones, are copied almost directly from older posts. And that's totally fine! You can do that so long as you're careful with it.
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How to write a romance that's already started rolling
But for this post, we're going to focus on a very specific breed of rom-subs today: the part of the relationship that comes after "The Big Kiss." We all know this moment. After several episodes/hours/books of flirting, bickering, and saving each others' lives, the characters finally--finally!--acknowledge that they want to be in a romantic relationship and make out properly for the first time.
And this is where the majority of romantic subplots end. All of the writing goes into setting up the relationship between our leading man and leading lady, and then...we don't get to actually see the relationship. Which is kind of a bummer. Because it feels like we go through all this work and turmoil without any reward.
And as a writer, I get it. Creating a relationship is a lot more exciting and dramatic than maintaining one. However, for the purposes of sequels, second acts, and just for my own peace of mind, we're going to be looking at how relationships are written after they're actually...you know, relationships. Rather than the will-they, won't-they nonsense.
But before we begin, I'm going to level with you: I am probably the last person in the world who should be writing this blog post. Not only am I still relatively new to published writing, but my own personal love life is pretty much non-existent. I didn't date in high school and only had one S.O. in college (and we broke up after less than a year). And most of the time, even though I am now getting back into dating, I usually have little to no interest in romance. So I know that I am far from an expert in building and maintaining romantic relationships in real life, and real life is the building blocks of fictional life.
However, I can tell you how any type of relationship looks in a story, including how one is done so well that even I think Wow, that looks really cool and realistic. So today, an attempt is made. Whether or not it's actually helpful to your writing, you decide.
SFF Characters Suck at Relationships
Seriously. Writers tend to have a really hard time writing functional relationships. The characters are having major problems that one of the characters has to confide in their bestie about (Nyota Uhura and Spock from the Star Trek reboots), or they've even broken up (General Leia and Han Solo in Star Wars: the Force Awakens). Sometimes, this makes sense. Not every relationship is destined for a fairy tale ending. Real life doesn't work like that, and neither should fiction.
But this problem is everywhere. Almost every romantic subplot that gets to continue from The Big Kiss runs into huge issues. And even when they don't, even when everything is fine, we rarely get to see the two characters actually do the relationship thing.
Look at Tony Stark and Pepper Potts in MCU. They start a relationship in Iron Man 2 and have some issues that they get to overcome in Iron Man 3, which is great. But then the next time we hear of their rom-sub is in Civil War, where Tony tells Steve Rogers that he and Pepper are "taking a break." Which is usually code for "breaking up or on the verge of doing so." This comes out of nowhere, since, while she doesn't make an appearance in Age of Ultron, it is established that she and Tony are still going strong. And THEN, the next time we hear from them in Spiderman: Homecoming, they're apparently back together again and Tony's proposing to her, which she accepts. Then in Infinity War, Tony's talking about possibly having kids!
Now don't get me wrong: I would much rather watch big explosions and ass-kicking in a superhero movie than dedicate an hour to the romantic subplot. But at the same time, you can't just skip over huge chunks of a character's life and relationship with others and expect everyone else to be able to follow along. You'll just give your readers whiplash. You're the writer. You have to write the damn thing.
Writing the Relationship
The ATLA show was the set-up for the romantic subplot between several characters, which are then explored in the comics that take place a year after the war. (If you haven't read those yet, please do. They're awesome.) Zuko and Mai do end up breaking up, and while Sokka and Suki seem fine on the surface I personally have been getting the vibe that there are some issues brewing. But Katara and Aang's relationship has been golden. They've continued to travel the world to bring peace and balance to the four nations, and have of course run into several obstacles and issues. Many Fire Nation colonists don't want to leave their Earth Kingdom homes. Aang's trying to preserve Air Nomad culture despite being the only living airbender. The South Pole is trying to modernize to keep up with the rest of the world, which grates on Katara.
But through all this chaos, just like all the chaos that happened in the show, Katara and Aang are there for each other. They continue to support one another and watch each other's backs. Only this time there's a bit more kissing and they call each other "sweetie." (Which I personally have a soft spot for because that's what my parents call each other. It's really cute. Fight me.)
Then we have Rick Riordan's books. Again, there are a ton of relationships because he went a little overboard in Heroes of Olympus, in my opinion. Piper and Jason, we find out in Trials of Apollo, did break up, but they're still friends. Nico and Will continue to be sickeningly adorable, dorky, and snarky. Leo and Calypso are still figuring it out but have managed to weather the first major test to their relationship: surviving a quest with a de-godified Apollo.
But of course, the main couple is Percy and Annabeth. They got together at the very end of the original Percy Jackson series, and despite that one hiccup where Percy was missing and amnesiac for eight months (because Hera is a bitch), their relationship has continued to be solid. They continue to fight bad guys. They continue to snark at each other and occasionally argue. They continue to lead the other demigods on crazy adventures and almost die.
Now, this piece of advice and personal wisdom I'm about to give is probably extremely obvious. Especially to experienced authors. But as I've said, most writers seem to be bizarrely incapable of writing the relationship after it gets started, so it needs to be said.
The common thread between these stories is simple: the characters in the relationship continue to be themselves. They don't act any differently other than the fact that they trust and rely on each other a little more. At least, the successful ones do. Part of the reason Zuko and Mai didn't work out is because Zuko didn't confide in her, or anybody, as the pressure of being Fire Lord started to get to him.
Basically, your characters are always themselves. They just get a little extra spice in their life now that they have a significant other. If they get lost in their relationship or start acting like a completely different character, then they probably shouldn't be in that relationship at all.
For an in-depth look at rom-subs as a whole, check out Overly Sarcastic Productions' video here.
The first Dragons, Zombies and Aliens blog was started in 2015. Somewhere between college coursework, paying rent with door-to-door sales, and keeping up with my sorority sisters, I wrote reviews, rants and commentaries on books, TV shows, and movies. Now, this blog has moved, improved, and the sky's the limit!