How Can Writers Avoid Promoting Romance Obsession?

2025-09-05 02:48:46 306

4 Answers

David
David
2025-09-06 06:19:11
When I pick up a manuscript or binge a show that leans hard into romance, my stomach does this little twist if the whole character world seems to orbit a single crush. I try to steer my own writing away from that gravitational pull by building lives that exist beyond 'who they love.' That means giving secondary goals—careers, hobbies, friendships, family obligations—that create natural conflicts and growth arcs. When a character has something they’d fight for aside from a partner, the romance becomes one thread in a richer tapestry rather than the only reason for being.

I also pay attention to consent and power. Scenes where pursuit is framed as destiny but actually brushes up against stalking or coercion are a red flag; I deliberately show consequences and let characters set boundaries. Sometimes I subvert tropes entirely: turn a meet-cute into a misunderstanding that leads to a healthy conversation, or let a crush dissipate so a character can pursue self-knowledge. For craft, I mix in platonic intimacy—deep friendships, chosen family—and show sexual autonomy. That variety helps readers see relationship models as options, not prescriptions. Lately I've been re-reading 'Pride and Prejudice' and watching 'Parks and Recreation' back-to-back to remind myself how different kinds of connections can coexist without one overpowering a character's identity.
Mason
Mason
2025-09-06 11:03:32
I get blunt about this with my notes: romance shouldn’t eclipse agency. A practical trick I use is a simple scene audit—read a chapter and underline every sentence that mentions the love interest; if more than 30 percent of the page references them, the scene needs rebalancing. Swap in a subplot beat, a flash of work or a friendship negotiation, or add sensory world details so the reader is anchored in a life, not a longing.

Also, avoid glamorizing pursuit behaviors that are problematic in real life. If someone is being overly persistent, let the story show the discomfort, the boundary being voiced, and the outcome—maybe reconciliation, maybe not. Include diverse relationship templates: non-romantic partnerships, queer platonic bonds, self-partnership. Small writing exercises help: write a chapter where the romance subplot is removed entirely and see what else reveals itself. Those gaps often show where obsession crept in, and what can take its place.
Jack
Jack
2025-09-07 15:14:58
I tend to be short and practical about this: keep characters multidimensional. If their identity is only 'romantic target' you’ve got an issue. Write three sentences about what they want besides love—money, mastery of a craft, reconciliation with a parent—and fold those wants into scenes.

Don’t glamorize unhealthy pursuit. Show boundaries, show consequences, and give characters clear agency to say no. Make friendships vivid: sometimes a platonic scene reveals more emotional truth than a love scene ever could. A tiny prompt I use: replace one romantic scene per chapter with a non-romantic victory and see how the narrative breathes differently. Try it next time you draft and see what surprises pop up.
Garrett
Garrett
2025-09-09 12:17:34
Sometimes I interrogate why a romance exists at all in a plot—what function does it serve for character transformation? Changing the narrative focalization can reveal if the romance is a driver or a distraction. I’ll swap POVs: put the spotlight on a side character’s professional dilemma or a mentor’s backstory for a chapter. If the story stands up without the lovers at the center, then the romance is truly earned rather than manufactured.

Structural techniques matter too. Use time jumps to show that attraction can ebb, mature, or be replaced by friendship; avoid instant-soulmate declarations unless you ground them in lived interaction. When writing, I track power dynamics on a separate sheet—who has social, economic, or emotional leverage—and scenes where imbalance feels exploitative get rewritten so consent and context are explicit. I also love using counter-programming: make the first kiss underwhelming so the real emotional payoff is later, earned through mutual growth. Examples that inspired me include the understated maturity in 'My So-Called Life' and the ensemble care in 'Fruits Basket'—they show that love can be part of a community, not the center of gravity.
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