The relationship is the plot.Plan it like one.

Romance is a genre of promises

Every romance makes one promise before page one: a happy ending, ever after or for now. Readers will forgive a lot on the way there, but not a broken contract. The tropes make smaller promises on top. Fake dating promises the moment it stops being fake. Only one bed promises the night. Enemies to lovers promises the scene where one of them admits they were wrong.

Authrot treats these as promises in the literal sense. A setup must be used and a question must be answered, and chapter readings find the setups you plant, tied to the words that planted them. Promises are grouped by when they pay off, so the trope you promised in the blurb and set up in chapter three can’t drift to the end of the book unpaid without you seeing it.

The break deserves the same care. Readers accept the dark moment only when it grows from the wound each lead carries, not from a misunderstanding a single conversation would fix. Plant that wound early as a setup, home it on the retreat arc, and the plan shows whether the break you wrote is the one you prepared for or a convenient accident.

The romance shape, as a plan you can change

Pick the romance structure and the relationship arrives as four arcs, each with its beats placed as turning points. The goal, stakes and outcome of each arc stay open for you, or for the Co-writer if you ask, so the shape is a scaffold rather than a script. Chapters sit under the arc they serve, and you hear when one drifts from it.

If your book wants a different skeleton, the other structures are there too: three acts, the 15-beat sheet, the story circle, seven points. Many romance writers lay the romance shape over a career or family plot, and an arc’s “what it moves in the main plot” field keeps that second line honest.

• Setup and meeting: both lives incomplete, the meet, no way, adhesion
• Falling in love: deepening, the midpoint of intimacy
• Retreat: doubts, the break
• Fighting for love: revelation, the grand gesture, ever after

Start from the tropes readers search for

Romance readers shop by trope, so it makes sense to start there. The Tropes way to start lets you pick up to four from shelves of romance, character and premise tropes, add comparable books and a line about what you want, and hand that spark to the Co-writer. It drafts the core, the voice, the cast and the world as directions you can mix field by field.

Or start from the Contemporary romance starter, which needs no AI at all. It fills open Voice fields with the shelf’s conventions: alternating first person between the two leads, a warm and funny tone with an ache underneath, each lead carrying a wound the other touches. Choose romantic comedy, small-town, sports or workplace romance as the subgenre, and decide how open the love scenes are.

Two leads, two voices

Dual point of view is the norm in contemporary romance, and the hardest part of it is making two narrators sound like two people. Give Authrot voice samples and drafting matches them; chapters that read unlike your samples are flagged as voice drift. The Banter and longing voice template shows the target too: quick banter and a pull the narrator pretends not to feel.

Free prose stats help with the rest. Dialogue share tells you when a chapter has turned into all banter or all introspection, sentence length shows the rhythm of each lead’s chapters, and the words you lean on surface before an editor finds them. None of the stats use the AI.

Small towns, big casts, the next couple

Romance series often move to a new couple in each book while the town, the friend group or the hockey team stays. One project holds every book, and the bible spans them, so the bakery owner from book one keeps her eye colour and her ex in book four. Characters who have gone quiet too long are flagged, which is useful when the next book’s lead needs a few appearances first.

Connections draws who is tied to whom, including romance, family and rivals, at any chapter. When you plan book three, you can see exactly which couples readers have already watched form and which friendships are ready for a story of their own.

Chapter plans that land the beat

A romance beat is usually a single moment: the first touch that lasts a second too long, the line that gives one of them away, the text message they don’t send. It is easy to write the chapter around that moment and forget to write the moment itself. A chapter plan holds what happens, the scenes, and the moments to land as a checklist you tick as you draft.

Each plan also lists the chapter’s promises, so you can see which trope it is meant to pay and which question it opens. If you are stuck on what comes next, ✦ Chapter ideas offers three takes, one click to pick and an exact undo. Before the AI drafts anything, the draft brief shows exactly what it will be told, so a chapter written with help still follows your plan, your beats and your rules.

• What happens, scenes, and moments to land as a checklist
• The promises each chapter opens and pays
• Chapter status from idea to final, with progress per book