  Romance/Love
This week: Saying "I Love You" Edited by: Satuawany  
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| For some it's hard to say "I love you," for some it's not. Whatever the angle in the story, it's essential to keep the reader up to speed so the "I love you" has the effect you want. I'll be your guest editor for this issue of the Romance/Love Newsletter and I hope I can give you some inspiration. |
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The "L" word. In real life, there are people who have no problem saying, "I love you," people who need to work up to it, and people who break out in hives at the mere thought. All other types, too, but we're trying to narrow it down, here.
There should be just as many kinds of characters. The important part is to make sure the reader digs into it
In real life, someone might spring an "I love you" (ILY) on you and after the shock wears off, maybe you can come to believe it. The same goes for a character in the same situation. But for the reader, there needs to be more.
The easiest thing for the writer is to be in that character's head, to show his or her thoughts, to really get into what about the love interest this character finds loveable. Inside the ILY-springer's head, we can see the build-up, and hopefully we see they love their co-star before the ILY is said.
If the writer doesn't have access to the ILY-springer's head, there are a couple of ways to go. If you're looking to shock the reader and the ILY-receiver at the same time, maybe "Too Soon" is perfect. There would have to be a pretty specific follow-through, however, getting the reader to understand and believe the ILY as the character does.
What really keeps a reader's interest, when they don't have access to the ILY-springer's head, is a clue now and then. If the ILY-receiver is supposed to be oblivious, let him or her be oblivious, but show the reader some clues.
Readers expecting love are on the lookout for it. A character who is not, isn't. (Der, Satuawany.) Yeah, I know. The point is, the reader can pick up on clues the love interest does not. The reader can assign meaning to a glance or action the character misses, just because the reader is looking for evidence of love while the character is not.
The important part is to show us what the character(s) feel(s). That's what makes it believable. If we can get into their heads, we can get into their hearts, and that's where we want to be in a love story.
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Romance/Love: July 13, 2011 Issue [#4501]
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