Someone said that love makes the world go round. Love is a basic emotion that grabs the reader and holds them enthralled. But so do all the other emotions in their own way. Why are TV soap operas so hugely popular? Because they present the viewer with a whole range of gripping emotions. And so should you.



As a general rule women want to be moved by love, sympathy, uplifting sentiments, incidents of caring and nurture, etc. This is not to say that they don't want excitement, danger or cliff hangers, but most women will respond to the higher emotions more readily than men.

Men want, again as a general rule, to read about action, danger and success in conflict. The emotions they experience are anger, frustration, fear, maybe hate, triumph and anything that shows the hero fulfilling his need to overcome the obstacles that have been thrown his way. Which is not to say that they don't like the love element, but it is often, shall we say, on a more basic level.

Now please don't hold up your hands in horror and cry 'stereotypes!' Face the facts: men and women really are different! As a general rule.

When you begin a story take a good look at your hero or heroine and decide exactly how they would react in the situation you are about to pitch them into.

This means working out where they have come from in their life journey to date. Are they bitter as a result of life's trials, or are they resigned to their fate? Or what? A word of warning: try not to let your hero be too well balanced. Remember, 'well balanced' can also equal 'boring'.

Remember also that your hero or heroine should be flawed in some way. So decide what that flaw is and the experience that produced it. This way you can let them express their emotions in their own individual style.

Your readers want to live through your characters and ride their highs and lows with them. To do this you have to show what a character is feeling. This can be done by simply describing what is happening, such as:

'Amanda felt the hot blood rush to her cheeks.'

The context of the incident should tell the reader why. Is she blushing with embrassment, or is she angry?

You can let the character say what's happening:

'Stop talking like that! You make me so angry!'

For the male characters you can say something like:

'Dirk strode swiftly across the room, a red mist swimming before in his eyes. His right hook caught Pearson by surprise and sent him staggering backwards. "How dare you talk to Amanda like that, you disgusting hypocrite!"'

Space the emotional scenes in your story so that the reader isn't in a constant state of emotional tension. It's OK to build these scenes as the story comes to a climax; just don't overdo it.

As a general rule (there's that phrase again!) readers want to feel satisfied, fulfilled and relieved that good triumphed over evil in the end. Learn to give them the emotional fix they're looking for and you will build a loyal readership eagerly awaiting your next story.