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I take a deep breath. “What makes a good romance?”
The line is silent for so long I wonder if the connection has been broken. Then Harper speaks, cautiously. “I don’t understand the question.”
“What makes a good romance?” I repeat. “Why do people read them?”
“Oh God, you have writer’s block. I knew it. I’m going to have to talk to the publisher, and the—”
“Harper!” I interrupt. “Just listen. I don’t have writer’s block, and I’m not behind schedule. I am genuinely curious. Why do people read romances?”
“I must say, this is a very unnerving phone call, Lisa,” Harper admonishes. “I don’t know why you’re asking, but people read romances because of the fantasy that everyone can find true love. Their own happily ever after. I know you know that.”
“Yes, but what are the elements that make the story work? It’s not just the end. It’s getting there. What elements make the story work?”
“Well, strong character development, of course. Being able to identify with the protagonists so that, in essence, you are falling in love with them as they fall in love with each other.”
“That’s it? Strong characters?”
“Of course not,” Harper says. “No story is any good without some type of conflict or adversity. Flowers and chocolates aren’t going to hold anyone’s attention for thirty chapters.”
“Why does there have to be adversity for love? Why can’t two people find each other and live happily ever after? It happens, right?”
“Not in the books I sell,” Harper huffs.
“I mean in life,” I say. “It happens in life. People can find each other and be happy without having to face some dire conflict or without the woman having to save the man.”
“Oh, the woman always has to save the man. Behind every good man is a good woman.”
“That’s just what you say to sell books,” I mutter, more to myself than Harper, although apparently she hears it.
“No, that’s reality. Although I think you’re talking it in a literal sense.”
“How else should I take it?”
“Philosophically,” Harper states. “The saying may be behind a strong man is a stronger woman, but I think you could also say behind every strong woman is a strong man. Or behind every strong man is another strong man or whatever arrangement suits you. The point is that couples are strong together. They save each other.”
“Why does there have to be any saving? Can’t people fall in love without it?”
“Again, I think you’re being too literal. Saving doesn’t have to mean fixing some part of the other person that’s broken, although that does make for a great plot. Saving can mean believing in each other, listening to each other, loving each other unconditionally or just being there so they aren’t alone. And that goes for any partner. I think we become the best version of ourselves when we have someone else to share our lives with. Someone who lets us see ourselves through their eyes instead of dwelling on the crap we often think about the face looking back at us in the mirror.”
“That’s really beautiful, Harper,” I gasp, touched by her insight.
“Well, saving in the literal sense tends to sell more books,” she chuckles, “but it’s not a prerequisite for love. Why are you… Oh my God! You’re in love? You can’t be in love. The fastest way to end a romance writing career is to fall in love. Tell me you’re not in love,” Harper wails.
“I don’t know. Maybe? I think so.”
“And you’re wondering if you have to save the guy for him to love you back?” Harper scoffs.
“No. I didn’t think he needed saving until I mentioned to a friend that it seems like something is weighing on him. She said if I want to fix it, it means I’m really into him or something to that effect.”
“And you want to know if that’s true. If wanting to save him means you love him?”
“I guess.”
“How can you be one of my best writers and not know if you’re in love?”
“It’s not like my books where I control the story and I know how each person feels about the other. I don’t know how he feels,” I justify.
“I didn’t ask how he feels. I asked how you feel.”
