The document provides an outline for writing paranormal romance novels. It breaks the story down into sections from the beginning of the relationship to the climax and resolution. Key sections include establishing the protagonist's routine, the initial meeting between the protagonist and romantic counterpart, encountering each other again and falling in love, dealing with conflicts that challenge the relationship, and a climax where the protagonist commits fully to the relationship. The document provides notes on crafting each section, including developing the characters and relationship and introducing appropriate conflicts and resolutions to drive the story forward.

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How to write
paranormal
romance

2. The Beginning of the Relationship
Pages 1-3: The protagonist in his/her natural habitat, doing what
they have done for, at least, the last few years. If they know about
the paranormal phenomena, this should be addressed.
Notes: This allows the reader to see how the protagonist is before the romance
begins. It shows routine, which shows the protagonist's personality. The
protagonist could be a witch with magical powers, but the fact that he/she only
uses magic in emergencies or the fact that he/she doesn't talk much shows a lot
about who the character is. You need to establish who the protagonist is before
you throw them into a relationship. Also, showing the protagonist's natural
habitat reveals setting as well as character.
Pages 4-5: The protagonist and their romantic counterpart meet.
The protagonist's life changes.
Notes: You want to avoid the "damsel in distress" convention as much as
possible. This is part of the reason Twilight gets so much hate--Bella is saved
by Edward from a truck, Bella is saved from a group of violent men by
Edward, Bella is saved from a group of vampires by Edward. Some people find
it annoying because it makes the female look weak and makes it seem like she
lacks the ability to take care of herself. Nobody roots for the helpless character.
Sometimes it's hard to avoid this convention when the male characterization
calls for it, but if that's the case, then show that the female is strong in her own
way. She can be saved by the man, but the second time they're in trouble, she
outsmarts the antagonists (This happens conversely in Dead Until Dark: A
Sookie Stackhouse Novel. Sookie saves Bill from the Rattrays first, and then
Bill saves her.)

3. Pages 6-14: The protagonist and their romantic counterpart
encounter each other again.
Notes: In order for two characters to develop a relationship, they have to get to
know each other. Generally, this means they have to bump into each other
again. Even if they get trapped together in a cabin during a snow storm, and
they spent a week together, they generally won't move in with each other the
moment they leave the cabin. They have to encounter each other again. This
can occur through one (or more) of the following reasons: obligation,
coincidence, or pursuit. Obligation is usually when one character encounters
the other character because of their job. The two characters could be
coworkers, or one of the characters could be a client of the other character.
Coincidence meetings could be that the two characters literally run into each
other, or that they both go to the same coffee shop. They could also have a
mutual acquaintance. Pursuit is when one of the characters purposely tries to
make a connection with the other character, so the meeting is caused by that
characters. This is the only kind of meeting that doesn't concern fate.
Having the characters meet by fate will make the character's love seem more
like it was something that was always meant to happen, but having one
character pursue another says something about that character's personality.
Rose went looking for Jack in Titanic because she was sick of the life she was
living, and had enough moxie to change her life.
Pages 15-30: The protagonist and the romantic counterpart keep
encountering each other, and begin falling in love or falling
further in love.

4. Notes: This differs from the prior event (“The protagonist and their romantic
counterpart encounter each other again”) because fate is no longer involved—at
least one of the characters is deliberately seeking out the other. This is when the
protagonist and the romantic counterpart are building a relationship as a
cohesive unit. Each time they meet, the intimacy of the meeting should
increase. For example, in Twilight Edward goes to the hospital to make sure
Bella’s okay. She confronts him about his paranormal abilities, which is a
private question to ask. Then, Edward carries her to the nurse’s office, which
puts them physically closer. Edward drives Bella home, which puts her inside
his private possession. In Dead Until Dark: A Sookie Stackhouse Novel, Bill
saves Sookie from the Rattrays, which is partly done out of reciprocity. Then,
they go to each other’s house, which is more personal. While at Bill’s house,
Sookie tells him about her telepathy, which is a personal detail about her. In
The Discovery of the Paranormal (pages 31-35): This is generally
when the protagonist discovers the paranormal, but in a good
portion of books, the protagonist is part of the paranormal world
as well.
Notes: If the protagonist is the one who discovers the paranormal, it will say a
lot about how he/she reacts to it. It will reveal if they're open-minded or not, if
they are skeptics or not, how much they care about their romantic counterpart,
etc. If they're part of the paranormal, the discovery of the paranormal is done
by the reader, and it generally occurs earlier in the novel.
Subplot (pages 36-45): Your protagonist's life can't revolve around
the romantic counterpart. They have to have their own ambitions,

5. a past, and their own private life. This is where the subplot comes
in. Since this is a novel, and a novel shouldn't be an array of
random events, the subplot should affect the main plot in some
way—usually either supporting it or causing events in the main
plot to occur.
Notes: The subplot can last as long as the main plot, or be resolved earlier. In
Twilight, Jacob fades in and out of the main plot, but he returns at the end of the
novel. In Dead Until Dark: A Sookie Stackhouse Novel the two subplots occur,
and are resolved in the same section of the novel. The subplots in romance
novels tend to revolve around the two character's other relationships. This is
because the other relationships suffer with the development of the new
relationship or the new relationship makes the protagonist reexamine their old
relationships.
The First Conflict
Conflict 1 introduced (pages 46-50): No relationship is perfect,
and for the reader to invest in a relationship, they have to watch
the relationship struggle. They have to know that when things get
tough, the two characters will either stay together or return to
each other eventually.
Notes: The conflicts should be created to show how strong the relationship
between the two characters is. If you throw an ex-girlfriend/ex-boyfriend into
their path, will they break-up? If you reveal that one of the characters turns into
a werewolf during the full moon, will the romantic counterpart leave them?
How much can the relationship take before the characters pack their bags and
drive away?

6. In a good portion of romance novels, the protagonist and the romantic
counterpart don't show that they're in love right away, even if they both fall in
love at first sight. This creates tension. Therefore, the first conflict is usually
centered around the fact that the protagonist and the romantic counterpart are
not yet in love, or don't accept that they're in love. It could be the reluctance of
the protagonist to fall in love with her romantic counterpart, both characters are
reluctant to fall in love, or that the protagonist and the romantic counterpart
hate/dislike each other. Occasionally it's the romantic counterpart's reluctance
to fall in love with the protagonist. In paranormal romance, if one character is
human and the other is paranormal, the paranormal character tends to worry
what harm could come to the human character if they were in a relationship
with him/her, so they try to push the human character away.
The first conflict could also be social issues--one of the character's
parents/friends don't like the other character or that the paranormal don’t
fraternize with humans. It could be a personal issue- one of the characters has a
secret that they refuse to tell the romantic counterpart, or that one of the
characters was raised to kill vampires/werewolves/etc. There could be
environmental issues—usually that they have a long distance relationship.
Regardless of what the conflict is, it should affect the relationship between the
protagonist and the romantic counterpart negatively. In the novel, this conflict
should be a small one in comparison to Conflict 2 and the Climax
Conflict 1 Resolution (51-65): This is when the protagonist solves
the first conflict.
Notes: The protagonist has to be the one to solve the problem—it can't be
solved by what they call deus ex machina, which is Latin for “God from the
machine.” Deus ex machina is when a conflict is suddenly resolved by itself

7. without any action by the protagonist. For example, if the problem is that the
protagonist wants to eat his romantic counterpart when he changes into a
werewolf, a writer would be using deus ex machina if the protagonist found out
that if he eats kale he won’t want to eat humans. The resolution shouldn't be
easy. The protagonist has to fight for it, or the reader has nothing to root for.
The resolution doesn't have to be solved right after the conflict, it could be
solved at the end of the novel (e.g. In Pride and Prejudice, Mr. Darcy doesn't
admit he loves Elizabeth until the end), but it's generally better if the
protagonist manages to fix some of his/her problems sooner rather than later.
It's hard to stick around for the sports team that spends most of the season
losing. It's the same for a character.
Pages 66-70: One or both characters cross the line between
platonic and romantic and/or the first expression of mutual
attraction.
Notes: This could be something physical, such as the first kiss or holding
hands, or something non-physical, such as asking the other character out on a
date or a declaration of love. Also, when one character crosses the line between
platonic and romantic, and when there is the first expression of mutual
attraction can be two separate occasions. For example, one character could kiss
the cheek of another character, and that would be one character crossing the
line, but it isn't showing a sign of mutual attraction. If the other character
kissed them back, then it would be both a character crossing a line, and
showing a sign of mutual attraction. In many romance novels, both of these are
the first kiss between the characters.
“This isn't just a fling” moment (71-80): There's a strong

8. likelihood that both characters have dated others before they met
each other. There needs to be some action done that says: “You're
different from the others. I would stop seeing the other people for
you.”
Notes: Other moments used are: meeting the parents, moving in with each
other, or revealing their paranormal secret.
The Second Conflict
Conflict 2 (pages 81-105): Conflict 2 should be a bigger problem to
the protagonist than Conflict 1. This means that the protagonist
should have more at stake—if he/she fails to overcome the conflict,
he/she will lose something he/she cares about.
Notes: In the romance genre, this should somehow build off or be connected in
some way to Conflict 1. If the protagonist was in denial about being in love
with the romantic counterpart, then maybe when he/she realizes they are in
love with the romantic counterpart, the romantic counterpart begins dating
someone else. If the issue before was that the paranormal character was
dangerous, and they solved it by chaining him up when he’s dangerous, then
maybe he begins to resent begin chained up. Like Conflict 1, this should be a
barrier between the protagonist and her romantic counterpart. At the very least,
both conflicts have to be about the two character's relationship. In Twilight,
Bella’s life is at stake, so Edward does everything he can to save her. In Dead
Until Dark: A Sookie Stackhouse Novel, Sookie is afraid that the town is going
to get revenge on what they believe Bill is doing. In both of these examples, the
relationship is in danger because one of the character’s lives are in danger.

9. 100% Commitment (106-115): This is the moment when one
character, in one way or another, says “you're the one” to the
other character.
Notes: This plot point tends to be either marriage or engagement in standard
romance novels, but in paranormal romance novels, it’s either a sacrifice done
by one of the characters (Bella putting herself in mortal danger by being with
Edward, Bill giving up part of his life to protect Sookie) or putting their life on
the line to save their romantic counterpart.
Climactic Moments
All is Lost Moment (pages 116-125): In order for the
protagonist/relationship to have an amazing victory, there should
be a moment when it seems like the universe is working against
them, and there is no possible way they can get what they want.
Notes: This is when writers think to themselves, “What is the worst possible
thing I could do to my protagonist?” Then, they do it.
Climax (pages 126-135): The climax is the turning point in a story.
It should be when the reader feels the most emotion, and is,
generally, the moment when the protagonist begins to win against
the conflict he/she is facing.
Notes: In a romance novel, the climax is the moment that the protagonist
decides that the romantic counterpart is the thing that they would give up
anything for. It could be the wedding, when the protagonist leaves her current
lover, when he/she throws themselves in front of a bullet for the romantic

10. counterpart. In a paranormal romance, it tends to be a fight, where the human
character is in grave danger.
There is also the option of the anti-climax. This is when everything has been
building up, but when the reader expects something exciting to happen...
nothing happens. For example, if there was a novel where the protagonist was
in love with a man who had a selfish, egotistical fiancée, and the protagonist
and fiancée spent the whole novel trading barbs. Then, at the climax, the two
females meet at the man's promotion party. Instead of fighting it out, the
protagonist tells the fiancée she can keep the man, and then walks out of their
lives. Anti-climax is ill-advised since it tends to make the reader feel cheated,
but it can be used as a shock to the reader or to make some kind of statement
(such as 'don't lust after someone's fiancé').
The End
Falling Action (pages 136-145): The falling action is the
consequences of the climax. This is when the overall conflict of the
novel is resolved. Did the protagonist get the boy/girl? This can be
the happily ever after, or a negative impact.
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