Most fiction writers know a good story needs conflict. Without conflict, the story lies flat on the page, lifeless. Romance writers most often make the conflict between the male and female protagonists. This is harder than it sounds, at least to make the conflict believable.

My pet peeve when it comes to romance novels is a story in which the female lead rejects a handsome, wealthy, humorous, thoughtful man because of some trumped-up reason. Another man broke her heart years ago. Or she can’t possibly get involved because her younger siblings need her. Or, unbeknownst to him, her mother was a courtesan. Please. No woman in her right mind would continually rebuff a borderline perfect man.

To enjoy a novel, we must suspend our disbelief, as they say. For the time it takes to read this story, I am going to believe that a handsome, wealthy duke will choose a lonely wallflower. I am never going to believe that any woman with half a brain would not want a handsome, wealthy, humorous, thoughtful man. Never gonna happen, at least not on my watch. My belief cannot be suspended that far.

Another conflict that bugs me involves women who are too prissy or righteous. I realize they’re going to mature and grow throughout the story, but if I can’t stand them at the beginning, I don’t want to read the book. I only have so many minutes left in my life, and I’m not going to use them reading something that bugs me. The best romance novels, to my mind, are the ones in which the conflict occurs between two intelligent, witty, strong people. No wimps allowed.

Another approach is to make the conflict be against our intelligent couple. They may be fighting the evil stepmother or the outlaw seeking revenge. This type of conflict can heighten interest because it involves bullets, poison, swordplay or other action.

To review, you want your conflict to be believable. The conflict isn’t supposed to be between you and the book you’re reading.

Years ago, before I really even knew what a romance novel was, I was invited to speak about writing to a northern California chapter of the Romance Writers of America. At the time, my credits included episodic television, several humorous parenting books and children’s poetry that appeared in anthologies with Shel Silverstein and other authors much more prominent than I.

In my mind, I placed romance novels on the same level as “The Love Boat,” of which I had written several episodes. Nobody ever won an Emmy writing for “The Love Boat.” It was pure fluff. Now I wish I’d written a hundred episodes. As it was, the residuals kept coming for decades.

I remember very little about my talk to the group, but I do recall telling the gathering I never had to worry about finding a job, no matter where I lived, as I had three useful skills: I could type, I could change a tire and I could write. It was incredibly freeing to know that, in theory, at least, I would never starve. I also told them of the helpful hint another TV writer had given me: Never stop writing when you don’t know what’s coming next. Always stop in the middle of a scene. That way, the next time you pick up your book, story or script, you’ll be able to continue writing and not stare at a blank page for minutes or hours.

Now here I am reading and writing romance novels and not feeling the least bit ashamed. I honestly don’t think my standards have slipped. I believe my perspective has broadened. In other words, I’m not as stupid and narrow-minded as I used to be. I now understand one of life’s joys (not to mention cheap thrills) is to read an entertaining book with twists and turns, sharp dialogue and a happy ending. I’m proud to be a member of the Romance Writers of America.