1. Economic Gain

So my problem with most ‘get to know your character’ questioneers is that they’re full of questions that just aren’t that important (what color eyes do they have) too hard to answer right away (what is their greatest fear) or are just impossible to answer (what is their favorite movie.)  Like no one has one single favorite movie. And even if they do the answer changes.

If I’m doing this exercise, I want 7-10 questions to get the character feeling real in my head. So I thought I’d share the ones that get me (and my students) good results: 

What is the character’s go-to drink order? (this one gets into how do they like to be publicly perceived, because there is always some level of theatricality to ordering drinks at a bar/resturant)

What is their grooming routine? (how do they treat themselves in private)

What was their most expensive purchase/where does their disposable income go? (Gets you thinking about socio-economic class, values, and how they spend their leisure time)

Do they have any scars or tattoos? (good way to get into literal backstory) 

What was the last time they cried, and under what circumstances? (Good way to get some *emotional* backstory in.) 

Are they an oldest, middle, youngest or only child? (This one might be a me thing, because I LOVE writing/reading about family dynamics, but knowing what kinds of things were ‘normal’ for them growing up is important.)

Describe the shoes they’re wearing. (This is a big catch all, gets into money, taste, practicality, level of wear, level of repair, literally what kind of shoes they require to live their life.)

Describe the place where they sleep. (ie what does their safe space look like. How much (or how little) care / decoration / personal touch goes into it.)

What is their favorite holiday? (How do they relate to their culture/outside world. Also fun is least favorite holiday.) 

What objects do they always carry around with them? (What do they need for their normal, day-to-day routine? What does ‘normal’ even look like for them.) 

A Comprehensive Guide for Writing Advice

Sometimes, despite enjoying writing so much, something is not working for you. Maybe your well of ideas has run dry. Or your WIP has hit a corner and you can't find your way out to the end of the story. Or you need to go back to your finished draft and see if there are any kinks to clear up.

Fortunately, everyone at Writeblrcafé has experienced such, and to help you out, we have a bunch of links to helpful posts by fellow writers to help you along on your writing journey as well as some helpful links to other websites, resources and software.

General:

WHY IS WRITING IS SO FUCKING HARD? (@writers-hq)

Writer Block First Aid Kit (@isabellestone)

Websites for writers (masterpost @2soulscollide)

Writing advice (masterpost @theliteraryarchitect)

Writing resources (masterpost @stinastar)

One look thesaurus (a reverse dictionary where you can enter words or concepts)

Coming Up with Ideas:

97 Character Motivations (@theplottery)

Character Flaws (@fantasyfillsmysoul)

Character Profile (@mistblossomdesigns)

Characters Unflawed (@emptymanuscript)

Why Theme is More Important than Plot (@theplottery)

Weekly writing prompts on Reedsy

Drafting:

3 of the worst story beginnings (and how to fix them) (@theplottery)

Cheat Sheet for Writing Emotion (@myhoniahaka)

Creative Writing for Writers (@writerscreed)

Describing Physical Things (@wordsnstuff)

How to Craft a Natural Plot (@theplottery)

How to Write a Story? (masterpost @creativepromptsforwriting)

How to write: ethnicity & skin colour (@youneedsomeprompts)

What the F is Show Not Tell (@theplottery)

Writing advice from my uni teachers (@thewritingumbrellas)

First Draft: story outlining template meant to help with planning your next big writing project (@fauxriot)

The wonder/ discovery arc (@evelynmlewis)

How to structure a chapter (@theplottery)

How to pace your storytelling (@charlesoberonn)

How to write and research mental illness (@hayatheauthor)

Seven Blogs You Need To Read As An Author (@hayatheauthor)

Editing/Revising:

Eight steps in making the editing process of your book easier (@joaneunknown)

Kill Your Darlings (@tibodine)

Self editing tips (first pass) (@projecttreehouse)

Publishing:

Chill Subs: biggest database for literary magazines and small presses; track your submissions and get your writing published!

5 steps to get your novel ready to self-publish (by @nanowrimo)

Resources for finishing and publishing your novel (masterpost by @nanowrimo)

For self-publishing: this page gives you the exact pixel count of a book spine based on its page count, and/or a template you can use for the correct width/height ratio.

Software:

Scrivener: one time payment of $60 or 70€ (macOS/windows), $24 (iOS; no Euro listed for iOS); used by professionals, many tools to write and organize your novel

Bibisco: free and "pay what you want" version; multilingual, world building, character profiles, writing goals, story timeline, mind maps, notes and more templates to write a novel.

Manuskript: free open source-tool; outliner, novel assistant, distraction-free mode

Ghostwriter: a free and open alternative which has a decent interface with some interesting features, like Hemingway Mode, which disables one's backspace and delete keys, emulating a typewriter.

NaNoWriMo: an international contest to encourage writers to finish writing their novel with many events, groups for exchange with fellow writers, helpful writing advice and help for self-publishing and publishing traditionally.

Campfire Writing: website, desktop app, and mobile app, with tools built in to help manage characters, magic systems, research, etc. It has a great free option, plus monthly, annual, and lifetime purchase options. It also has built-in NaNoWriMo compatibility and a catalogue of tutorials and writing advice videos (suggestion by @harfblarf)

Websites And Writing Apps Every Author Needs In 2023 (@hayatheauthor)

Let us know in the comments if there are any links we could add to it! Reblog this post to help a fellow writer.

Support our work by buying a cup of coffee on KoFi.

Vivid verbs to use instead

Instead of say:

Ask, enquire, reply, answer, state, hiss, whisper, mumble, mutter, comment, bark, assert, shout, yell, holler, roar, rage, argue, implore, plead, exclaim, gasp, drawl, giggle, whimper, snort, growl, scream, sing, stammer

Instead of run:

Sprint, dart, bolt, canter, gallop, trot, zoom, hurry, speed, jog, saunter, scamper, hurtle, rush, scramble, spring, swing, swoop, dive, careen

Instead of walk:

Stroll, hike, promenade, saunter, march, amble, stride, tread, pace, toddle, totter, stagger, perambulate

Instead of look:

Observe, glance, stare, examine, peek, study, notice, see, glare

Instead of go:

Leave, depart, shift, take off, move on, quit, exit, take a hike, travel, drive, proceed, progress, run, walk away

Instead of eat:

Pick at, nibble, munch, chew, gobble, devour, consume, demolish, gulp, swallow, scarf, wolf

Instead of hold:

Grip, clench, grasp, seize, reach, embrace, clamp, clench, clasp, grab

Instead of give:

Provide, offer, present, hand over, deliver, contribute, furnish, donate, bequeath, pass over, pass to, extend, assign, allow, lend, bestow, grant, award, confer

Instead of let:

Allow, permit, authorise, agree to, consent to, accede to, give permission for

Instead of put:

Place, set, lay, position, settle, leave, situate, locate, plant, deposit, plonk, plunk

Instead of pull:

Yank, heave, haul, draw, cart, lug, hump, drag, tow, jerk, attract, pluck, wrench

Instead of move:

Progress, transfer, shift, topple, change, redeploy, refocus, relocate, prod, nudge, induce, cause, budge, stir, lead, encourage, propose, induce, slink, scamper, careen, zip, ram, drift, droop, heave, edge, stalk, tiptoe, creep, crawl, plod, waddle, drag, stagger

Sensory verbs / quiet:

Sigh, murmur, rustle, hum, patter, clink, tinkle, chime, whir, swish, snap, twitter, hiss, crackle, peep, bleat, buzz

Sensory verbs / noisy:

Crash, thunder, clap, stomp, beat, squawk, shout, yell, explode, smash, detonate, boom, echo, bark, bawl, clash, smash, jangle, thump, grate, screech, bang, thud, blare

Instead of tell:

Order, command, instruct, dictate, require, insist, warn, caution, decree, mandate, charge, direct, dominate, lead, rule

Instead of like:

Love, adore, yearn, treasure, worship, prefer, idolise, cherish, admire, enjoy, be fond of, be keen on, be partial to, fancy, care for, appreciate, hold dear

Instead of want:

Desire, crave, covet, yearn for, aspire to, envy, fancy, require, wish for, hanker after, need, lack, miss, aim for, choose

Instead of cover:

Bury, wrap, conceal, mask, veil, hide, cloak, shroud envelope, obscure, blanket, curtain

Instead of throw:

Toss, lob, chuck, heave, fling, pitch, shy, hurl, propel, bowl, cast, drop, project

Instead of surprise:

Confuse, puzzle, bewilder, baffle, bamboozle, disconcert, flummox, perplex

How do I describe a tired person? I got 'dark circles under the eyes' but it kind of stops there.

Tips for creative writers who want to write about fantasy:

1. Build a rich and immersive world: Create a detailed and imaginative fantasy world with its own history, geography, cultures, and magical systems. Consider the rules and limitations of your world's magic to ensure consistency.

2. Develop unique and compelling characters: Craft memorable characters with distinct personalities, strengths, flaws, and goals. Explore how their backgrounds and abilities shape their experiences and interactions within the fantasy realm.

3. Weave in elements of magic and mythology: Introduce mythical creatures, mystical artifacts, and ancient legends into your storytelling. Use them to add depth, mystery, and wonder to your fantasy world.

4. Embrace world-building details: Pay attention to small but significant details in your world-building, such as food, clothing, customs, and languages. These details will enhance the believability and richness of your fantasy setting.

5. Create a compelling conflict: Develop an engaging conflict or quest that drives your story forward. This conflict could involve a battle between good and evil, a personal journey of self-discovery, or a struggle for power and redemption.

6. Blend familiar and unique elements: Combine familiar fantasy tropes with fresh and inventive ideas to create a unique reading experience. Balance the comfort of the familiar with the excitement of the unknown.

7. Use vivid and descriptive language: Paint a vivid picture with your words, using descriptive language to transport readers into your fantastical world. Engage all the senses to bring your settings, creatures, and magic to life.

8. Establish consistent rules and logic: While fantasy allows for imagination and magic, it's important to establish rules and logic within your world. This will ensure that readers can follow and invest in the story without feeling confused or disconnected.

9. Include themes and depth: Explore deeper themes and messages within your fantasy story. Address topics such as power, identity, morality, and the human condition to add layers of depth and resonance to your narrative.

10. Read widely in the fantasy genre: Immerse yourself in a variety of fantasy novels to familiarize yourself with different styles, world-building techniques, and storytelling approaches. Analyze what works and doesn't work for you as a reader and apply those insights to your own writing.

Remember, fantasy writing is an opportunity to unleash your imagination and transport readers to extraordinary realms. Have fun, be creative, and let your passion for the genre shine through in your storytelling.

Happy writing and happy adventures in the realm of fantasy!

Different ways to describe Blue eyes

1. Bright, azure eyes: Referring to the brilliant, vivid shade of blue reminiscent of a clear sky.

2. Deep sapphire eyes: Comparing the color to the rich, dark blue of a sapphire gemstone.

3. Clear cerulean eyes: Describing a pure, bright blue hue akin to the color of a clear cerulean sky.

4. Sparkling turquoise eyes: Likening the color to the shimmering, greenish-blue tones found in turquoise gemstones.

5. Icy blue eyes: Describing a pale, cool blue shade reminiscent of ice or winter.

6. Piercing cobalt eyes: Suggesting a striking, intense blue color akin to cobalt metal.

7. Dreamy cornflower eyes: Comparing the color to the soft, delicate shade of cornflower petals.

8. Electric blue eyes: Referring to a vibrant, intense blue hue that appears to be charged with energy.

9. Oceanic blue eyes: Describing a deep, alluring blue color reminiscent of the vastness of the ocean.

10. Steel-blue eyes: Likening the color to the cool, steely hue of metal.

11. Aquamarine eyes: Comparing the color to the soft, bluish-green tones of the gemstone aquamarine.

12. Gentle baby blue eyes: Describing a light, soft blue color similar to the eyes of a newborn.

13. Enchanting cerulean eyes: Suggesting a captivating, magical shade of blue.

14. Cool periwinkle eyes: Referring to a soft, light blue hue with a touch of lavender.

Character Movements (Lips) Part 2

1. Smiling: The character's lips curl upwards at the corners, indicating happiness, friendliness, or amusement.

2. Frowning: The character's lips turn downwards, indicating sadness, displeasure, or concern.

3. Pouting: The character pushes their lower lip forward, often conveying disappointment, sulking, or a desire for attention.

4. Biting lip: The character lightly bites or presses their lips together, suggesting nervousness, anticipation, or hesitation.

5. Licking lips: The character's tongue briefly touches or moves across their lips, indicating desire, anticipation, or hunger.

6. Pressing lips together: The character's lips are firmly pressed together, indicating determination, frustration, or holding back emotions.

7. Parting lips: The character's lips slightly separate, often indicating surprise, shock, or readiness to speak.

8. Trembling lips: The character's lips quiver or shake, suggesting fear, anxiety, or suppressed emotions.

9. Whispering: The character's lips move closer together, and their voice becomes softer, indicating secrecy, confidentiality, or intimacy.

10. Mouthing words: The character moves their lips without making any sound, often used to convey silent communication or frustration.

Fantasy Guide to Royal Households and How they Work

When I say Households, I mean the entourage that follows around the royal family. The household went everywhere with them to care for their needs from the people who would empty their chamber pots to their noble companions. Most royal households are basically the same as noble ones, only on grander scale. Every royal had a household and an entourage as well as every noble at court.

Palace Personnel ~ The Commons

The commons were an intregal part of every household. They made up perhaps 80% of the work force. Royal courts were often on the road and never spent more than a few months at every palace. The court was constantly moving. Some positions were not permanent, meaning certain servants did not travel with the court because they were employed at the palace only. They would be paid by the Monarch's paymaster.

Scullion: The scullion was a relatively easy position to fill so they were often changed as the court went from palace to palace. They would be responsible for scrubbing and cleaning the servants quarters and the kitchens. They would scrub floors with lye, scour pots with sand, sweep put the fireplace and clean up after the other servants. They were the first to rise in a castle and tasked to light all the fires in the kitchens. Scullions would just be employed to the palace and serve a multitude of chambers

Laundress: The laundress was responsible for the cleaning of anything made of fabric in the household. Since they are handling unmentionables, they knew what happened behind closed bedchamber doors. They knew when the King visited the Queen or hadn't, they knew when marriages were consummated or not and they knew when the Queen and royal women were not pregnant. They often sold secrets to pad their pockets. Laundresses might be permanent staff but sometimes not.

Minstrels: The minstrel was a commoner hired to play an instrument or sing for the entertainment of the royal. A royal might staff a few at a time but they would always have one on hand. The minstrel would likely come with their masters as they travelled. The minstrel might serve the main royal household but a royal might retain their own.

Cook: The cook was one of the most important servants in the household. They would have the task of overseeing the running of the kitchens and keeping supplies in order. They would likely be on call at all times. Henry VIII's cook was often woken in the night because his royal master wanted a midnight snack. The cook was a valued member of the household and would have been highly sought after if they were a very skilled cook. They would have travelled with the joint. Cooks were apart of the greater royal household but often royals retained private cooks for their own use.

Maidservant: The maidservant cleans the castle. She would sweep the floors, scrub them, empty the chamberpots, get rid of the ashes from the fire and ready the fire for later. She would make up the bed or strip it for the laundresses. She would wash anything that needed washing including furniture and ornaments. She was likely not a travelling servant and would be strictly employed at a single palace.

Jester: The jester was the hired entertainer. Working under the master of revels, the jester had the daunting task of making the monarch and their family laugh. They would tell jokes, tell stories, cause havoc in the court for laughs and lighten the mood. The most successful jester of all time was Will Somers, jester to Henry VIII. Will broke bad news to the infamously bad tempered monarch and got away with things that would have sent others to the block. Will survived most of Henry's reign, his head intact. Jesters would be apart of the main household though each royal might have one of their own.

Positions within the Royal Household ~ Noble

Nobility were always welcomed at court. They eat at court, slept at court and were cared for by the monarch. Some nobles had to sing for their supper and most were hired as royal servants. They weren't exactly scrubbing floors and would be paid handsomely with land that would generate wealth for them

The Steward/Seneschal: This person was the head of the royal's staff. They would have the task of running the lands and servants their master or mistress. The steward served as a backup and assistant in all the tasks even representing their master or mistress when they were unavailable. Would be a high ranking noble. Each royal household would have them.

Treasurer of the Household: The treasurer was the accountant and pay master. They would be in charge of ensuring debts were settled, wages were paid and the household was running within the budget. This was a coveted position because it gave the treasurer insight into the financial situations of the royals. Such info was wroth its weight in gold. Each royal would have one.

Usher: The Gentleman Usher would be in charge of escorting guests into the royal chambers and into the royal presence. They would act as a go between their royal master/mistress and the guest often going back and forth with messages. It was just as coveted as the position of chamberlain but with less responsibilities.

Master of Horse: The Master of Horse was in charge of seeing to the horses of their master. They would oversee the grooms or the stableboy/hands who were employed at the stables to actually care for the horses. The master of horse would ensure that the stables were in order and the horses were up to parr in order to bear royalty across the kingdom. Each royal would have one but there would a main one who acted as overseer.

Master of the Wardrobe/Mistress of the Robes: These are the nobility who are employed to look after the clothes of the royal they serve. This would mainly involve a managerial position, overseeing the inventory of the royal wardrobe (a warehouse like building that housed the clothing) and placing orders for new clothes. It was a tidy job that rarely involved getting the hands dirty. Each royal would have one.

Chamberlain/Valet: The chamberlain is employed to look after the Lord's bedchamber. This was the most sought out position as they effectively were the gateway into the royal presence. Their main task was making sure their boss was comfortable and happy. Could be a well born commoner or a noble. Each royal would have one.

The Page: All royal households had pages. They would be a young noble boy about seven years old sent to their royal master. He would be in charge of tidying up after the lord, carrying messages to other servants and occupants of the castle and serving him at meals. Unlike others on the list, the page would not be paid. His experience was his payment as he would learn the running of a court and how to be courtier. Each royal would have one.

Squires: Squires were like pages though they only served the men. They would accompany their royal master to battle, look after his armour and mail, ensure that his lord's horse was saddled, caring for their master's weapons. The squire would always be a young nobleman on the cusp of becoming a knight.

Governess: The governess is a noblewoman woman employed to oversee the Monarch's children's household. She would be the first teacher a royal child would have and would oversee the nursemaids who would have care of the physical person of the child. She would be appointed when the child was four or five. Notable governesses include Katherine Swynford (wife of John of Gaunt and mother to the Beaufort line), Margaret Pole (wife of Tudor Loyal Sir Richard Pole, sister of the last York heir Edward of Warwick, daughter of George Duke of Clarence and niece to King Edward VI and Richard III), Kat Ashley, Margaret Bryan, Madame de Maintenon and Baroness Lehzen. Most unmarried Princesses retained their governesses while Princes generally outgrew their governesses after they were breeched.

Gentlemen of the Privy Chamber: They were the male companions of a King or Prince, sort of like ladies in waiting but manly. They would accompany the King or Prince everywhere they would go and shared duties with Groom of the Stool (royal toilet paper dispenser) and the Chief Gentleman of the Chamber (overseeing the staff and maintaining the chamber). They would help their master get ready, serve him at the table and organize hunting and games to keep him entertained. Gentlemen and companions where often chosen for their connections as well as their master's own opinion. Henry VIII's gentlemen included: Sir William Compton (ward of Henry VII and heir to rich lands), Sir Henry Norris (the grandson of William Norris who fought with Henry's father at Stroke and a relation to the Yorkists Lovells), Sir Anthony Denny (son of Sir Edmund Denny Baron of the Exchequer) Sir Michael Stanhope (brother in law to Edward Seymour, Duke of Somerset), Charles Brandon (ward of Henry VII and son of Tudor Loyalists)

Ladies in Waiting and Maids in Waiting or Maids of Honour: These are the female attendants to the Queen or Princess. Ladies in Waiting were married while the Maids were unmarried. They would have to attend their mistress wherever she went, help her get ready, keep her chambers in order, write letters for the Queen and maintaining her honour. They were chosen for their connections. Using Katherine of Aragon as an example, her Ladies in Waiting included: Maria de Salinas (daughter of Juan Sancriz de Salinas secretary to Isabella, Princess of Portugal and a Spanish courtier in the service to Katherine's parents, wife of Baron Willoughby de Ersby), Elizabeth Howard (the daughter of Thomas Howard, 2nd Duke of Norfolk, sister to Thomas Howard, 3rd Duke of Norfolk and wife to Thomas Boleyn, ambassador to France), Anne Hastings (daughter of William Hastings, 1st Baron Hastings, wife to George Talbot, Earl of Shrewsbury and Lord Steward.), Agnes Tilney (wife to Thomas Howard, Earl of and 2nd Duke of Norfolk.), Elizabeth Scrope (wife of John de Vere, Earl of Oxford, a loyal Tudor lord), Margaret Scrope (wife of Sir Edmund de la Pole, Earl of Suffolk cousin to the King), Anne Stafford (sister of the Duke of Buckingham, married Sir George Hastings, Earl of Huntington and daughter of Henry Stafford, 2nd Duke of Buckingham (cousin to the King) and Lady Katherine Woodville (sister of King Henry VIII's grandmother and his great aunt by her marriage), Elizabeth Stafford (sister to Anne Stafford wife Robert Radcliffe, Lord Fitzwalter and Earl of Sussex around). Their connections are what got them their places and you can see why they were chosen.

Accommodation

Accommodation can be a difficult thing to sort both as a writer and a steward. You might have a palace of 200+ bedchambers in which you must house a staff of 500-/+, a varying amount of nobles, the royal family (of a varying amount) and their own households. When assigning rooms it is best to think of a Russian nesting doll. Start from the inside and work your way to the outside.

The best rooms go to the monarch, their consort and their children/siblings/parent(s). These chambers would include the bedroom, a drawing room/ common area, a privy, a closet (a small chamber that can be used for prayer or work). They would be furnished with the best cloth, the best candles and whatever furniture brought by the resident since most royal courts travelled from palace to palace. They will also have chambers for their personal servants such as ladies in waiting and grooms.

The second best set of rooms would go to the highest ranking nobles/people in the court. These rooms would be less fancy and a little smaller. These would be given to from titled nobility descending from those of Ducal rank (Dukes/Duchesses) or even members of the council such as Thomas Cromwell in Tudor times.

The next set would be considerably smaller, perhaps minus a closet or a drawing room. Given to lower nobility.

The next level of chambers would be smaller perhaps only the bedroom and a common area given to minor nobles.

The last set of rooms would be small and only hold enough room for a bedroom. Servants would have to sleep on the ground on pallets beside their masters.

Any other guests at court would have to stay at off-site locations around the palace in the city. Some nobles at houses around major palaces just in case they arrived late or were kicked out of court.

George R R Martin is an American novelist and short story writer, screenwriter, and television producer. He is the author of the series of epic fantasy novels A Song of Ice and Fire, which was adapted into the Emmy Award-winning HBO series Game of Thrones (2011–2019).

01 - The human heart in conflict with itself is the only thing worth writing about. You need characters to question who, and what, they are and how they fit within the world around them. This is key for character development.

02 - Write for yourself. Following trends, or pleasing your audience in spite of your own plans, harms good storytelling. Listening to critique is good, but inevitably you must be entertained and feel your way through the writing process.

03 - Anyone can die, and death is a key part of any story with conflict. Don't give your characters any special treatment, have them play by the same rules you set upon your world. Not only does it add constant tension, but it also creates a realistic atmosphere.

04 - Sometimes an idea can just come to you. If so, do not disregard it, instead follow the idea as a writer and write it! It could either lead into an interesting project or serve as useful practice.

05 - Show don’t tell. Immersion is essential to any story. Only through visuals and vivid descriptions of your world, can your audience even start to imagine themselves in your world.

06 - Allow yourself to discover in the process of writing. While you need to know the major outcomes of the story, and character arcs, allow yourself to enjoy and be aware of your sixth sense on your way through the story.

07 - When writing a script, dialogue should never be too long. Other than a few monologues, or moments, keep it short and sweet. Also, read the dialogue aloud by yourself or with the cast, this is a simple effective way to see if it works.

08 - When adapting a novel, you’ll always lose some content. However, a good adaptation rides the fine line between cutting side content and keeping smaller meaningful moments that enrich the story.

09 - Being a writer is not a career for those who wish to be stable. It is a massive risk in every way. A true writer, even during the lows of their career, will never stop storytelling. It is essential to whom they are. So, from a beginner to a bestseller, never stop writing.

10 - The ending to an act is fundamental to keeping the audience engaged with your story. Leaving it on a cliff-hanger, or teasing the audience with a different outcome can be the best way to break up converging storylines and finished acts.

hello! can you make some marriage of convenience prompts?

One of my favorite tropes :) hope you enjoy!

By @me-writes-prompts

"This is only, and only for the business deal. No more, no less."

"You know I'll never love you, right? I'm doing this just so my parents don't disown me."

Person A and Person B have always been enemies, so what's with their parents being friends and forcing them to get married?

Getting married to settle political matters.

They're both celebrities and people want to see them as a couple off-screen too. There is money involved with popularity, so why not? Until it becomes not about the money but the damn feelings. (Ok, this is very specific, but go with it)

"I never even dreamed that I'd marry you, of all people." "Me neither, but here we are."

Holding hands and kissing in front of their friends and family, but slowly, it's becoming more genuine and there are feelings being poured into it.

Getting protective over the other without meaning to.

Starting to feel *butterflies* when they get too close to each other.

"Omg, they thought we were a couple." "Because we are, we're literally married." "We are not a couple." "Yet." (Ikykwk;)