The writer must choose words that express well the dizzying feelings experienced by any characters that will be falling in love during the yet-unwritten story. The writer of a romantic love story has many ways to hold the attention of the reader, especially at the start of a romance. At that point, the writer should look for opportunities to introduce hints of intrigue, flattery and delight.
The writer should find a way to convey to readers the thoughts of the romantically-inclined characters in his or her story. The writer of a romantic love story usually has characters who feel an intense attraction for each other. A simple story might have just one charming male character in love with a beautiful female; a more complex story might have a love triangle—three people feeling the pull of an intense attraction.
Of course the characters in a good love story ought to display more than just a simple attraction for another individual. The romantically-inclined characters should show by their thoughts and actions that they idealize the person whom they love. The writer must select the setting for those thoughts and actions.
In selecting that setting, the writer of a romantic love story needs to keep in mind the key facets of idealization. One of those facets is eroticism. The second facet of idealization involves expectations that the feelings of love will endure forever. The skillful writer can somehow design the character development so that it incorporates all facets of attraction and idealization.
The writer of a romantic love story might want to read some physiology or biochemistry texts. Scientists have found that romance triggers neurotransmitters in the brain. The signals from those neurotransmitters set off a chain of biochemical reactions. The body changes that occur in response to those biochemical reactions provide the writer with a ready-made list experiences for any character who will be falling in love during the story.
As two characters meet and start to fall in love, the writer might mention that one character has sweaty palms. The second character might demonstrate a sudden need to take extra-deep breaths. If either character were to look in a mirror at that same point, then the writer could make mention of the flushed face staring back at the imagined character, a character who the reader must see as someone falling in love.
In the absence of a mirror, a writer might want to have a small child present at that first meeting of the main characters. Then the child could ask, “How come your face is so red?” The writer would make use of the fact that a child in that situation would not realize that he or she was witnessing the start of a romantic love story.