Romantic fiction is far more than romantasy. But the phenomenal success of the genre offers valuable lessons, not just for romance writers, but for anyone interested in crafting compelling stories.
In this article, novelist Alison May (author of A Recipe for Love, All That Was Lost and The Other Wife) explores how strong world building brings romantic fiction to life, from high fantasy epics to cosy seaside tales. She shows how a single sentence can establish a rich sense of place and instantly immerse readers in a story. Alison also writes under the pen names Ally Sinclair, Amelia Berry and Juliet Bell.
Alison will tutor our upcoming How to Write Romantic Fiction course, which begins on 21 September 2026! To learn the fundamental skills for writing romance, as well as personalised feedback on regular assignments, join us for this 12-week online tutored course.
When I talk about world building in romantic fiction most people’s minds turn straight to romantasy. That’s understandable.
If you’re creating a fantasy world, you really need to work out the specifics of that world. A fantasy world inspired by medieval battle fields is quite different to one imagined around a distant utopian planet, and they’re both brand new to your reader, so you need to set the scene from line one.
Take a look at romantasy juggernaut, Fourth Wing by Rebecca Yarros. Before chapter 1 begins a heading tells us ‘A dragon without a rider is a tragedy. A rider without their dragon is dead.’
Straight away we know that dragons, riders and the relationship between the two, are central to this world, and we know the stakes are high – the risk of death is right there. The chapter proper opens ‘Conscription day was always the deadliest…’ reiterating those life and death stakes and showing us that this is going to be a militaristic world. We’re one sentence into the story and those essential pillars of this world are already established.
That’s a world building lesson we can translate to any genre of romantic fiction.
Whatever your setting, the reader is still going to create a picture of that world in their mind. Even for a contemporary story, the tone and feel of a high-stakes romantic suspense novel following glamorous competing jewel thieves is going to be very different from a cosy romance set in a chocolate box seaside village.
The setting for both might be ‘contemporary Britain’ but the picture you want to put in your reader’s mind is entirely different.
When you’re trying to communicate the world of you story ask yourself these questions:
1. What does the reader know?
It’s often much less than you think.
2. Does the reader need to know that right now?
A lot of writers slip up by trying to put all of their world building into the first chapter of the book in a big dollop. However beautifully written that dollop is, it’s almost certainly not helping your reader get swept up in the story you’re telling.
3. How can I communicate the things the reader does need to know in the most engaging way? Think about:
- How you make the world building also move the story forward, as in ‘Conscription day was always the deadliest…’?
- Can you give information about the world in a sensory way? Evoking the sights, smells, sounds and physical sensations of the world can really help your reader feel like they’re right there.
- And finally, if you have written a whole paragraph of beautiful sensory imagery creating the world for your story, look at it critically. Does every image pull its weight? Would one or two be stronger if you cut back the rest and allowed those images to stand on their own?
Writing exercise
To create a world it can be useful to try to evoke a sensory response in the reader. Practising engaging your own senses can be a useful way in to this sort of writing.
Set a timer for two minutes.
Close your eyes (after you’ve finished reading these instructions) and spend those two minutes trying to engage with your other senses.
What can you hear around you? Noises in the room, or outside, or from your own body. What sensations can you feel on your skin? Are your clothes rough or smooth? Is there any pain? Are you hot or cold? What does that feel like? What can you smell? It is pleasant or unpleasant? How do you physically react to any smells?
When the timer goes off open your eyes and see if you can write down exactly what you sensed and felt during those two minutes. And you can repeat the same exercise on different days, in different places and in different moods. How do those changes create different sensory experiences?
Alison May
Alison May is a novelist, editor and writing mentor who writes romance fiction under several pen names, including Ally Sinclair and Amelia Berry. A former Chair of the Romantic Novelists’ Association, she has taught for organisations including the RNA, NAWG, the Open University and the University of Worcester.
Shortlisted for the RNA’s Indie Editor of the Year Award in 2022, Alison has helped many writers secure publication and agent representation. Her own novels have been shortlisted for major romance awards, and her most recent series as Amelia Berry is set around a cookery school in a quirky Scottish Highland village.
How to Write Romantic Fiction (12-week course)
Have a great love story in mind?
Learn how to write romantic fiction with our 12-week course! Unlock the secrets of crafting captivating love stories in this expertly designed online tutored course. Whether you’re new to the genre or looking to refine your skills, this programme will guide you through the complexities of relationships, the thrill of passion, and the journey of self-discovery—all brought to life through richly drawn characters and compelling plots.
Course led by Alison May, who will offer regular feedback throughout the course, plus a one-to-one tutorial at the end.
Starts Monday 21 September, 12 weeks. Course costs £495*
*Payment plans are available. Contact us at academy@nationalcentreforwriting.org.uk for more information.
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