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If romance is a subplot, it should serve the main story. In a survival thriller, a growing trust between two characters raises the stakes — losing them hurts more. In a coming-of-age story, a first romance can mirror the protagonist’s discovery of self. Avoid “designated love interest” syndrome: give that character their own arc, separate from the protagonist.

From the will-they-won’t-they tension of Moonlighting to the angst of Normal People and the epic fantasy sweep of Outlander, romantic storylines are the oxygen of narrative. They are the subplots that often become the main event, the fan forums dedicated to a single glance, and the reason we throw pillows at the television when characters refuse to communicate.

But why are we so invested? On the surface, relationships in fiction are about escapism. Beneath the surface, they are a mirror held up to our own anxieties, desires, and the messy, unspoken rules of human connection.

Trust is earned in inches, not miles. Give your characters small, accidental moments of vulnerability: a shared laugh at something no one else noticed, a hand brushing while reaching for a book, an unguarded confession at 2 a.m. Let the reader fall in love with how they see each other before they even kiss.