Exotic settings can sometimes feel like a cheat code for writers. I used to think that. Toss in a Moroccan marketplace or a secluded Icelandic cabin and boom, instant tension, right? Not really. The magic isn't just the backdrop; it's about displacement. A character in a wildly unfamiliar place is already off-balance, psychologically raw. That vulnerability opens up possibilities you might not get in a standard office romance. They're more likely to act on impulse, misinterpret signals, or surrender to desires they'd usually suppress back home because the social rules are different, or they think they are. It’s that delicious clash between who they are 'back home' and who they can be in this temporary, rule-less bubble.
I read one story set in a steampunk airship city above the Amazon. The cultural mash-up wasn't just set dressing; the protagonist's very rigid Victorian-esque morals kept bumping against the more fluid, communal social codes of the floating city-dwellers. The romantic tension came from her constantly recalibrating what was 'proper,' and her slow-burn realization that the rules she thought were universal were actually just hers. The exotic element made her question her own foundations, and that's where the real heat built—not from the brass goggles, but from her internal collapse.