WEBVTT

1
00:00:04.866 --> 00:00:09.787
WEBTOON Advanced
Haga’s Romance Genre Secrets

2
00:00:25.188 --> 00:00:26.222
Hello, everyone

3
00:00:26.222 --> 00:00:28.089
It’s a pleasure to meet you

4
00:00:28.089 --> 00:00:30.732
I debuted with the work For Sita

5
00:00:30.732 --> 00:00:33.659
and recently completed the serialization of King’s Maker

6
00:00:33.659 --> 00:00:36.782
I am the author Lee Sang-mi, known by the pen name Haga

7
00:00:36.782 --> 00:00:39.838
In today’s lecture, I aim to share insights into the structure of the romance genre

8
00:00:39.838 --> 00:00:42.950
and my unique approach to storytelling

9
00:00:42.950 --> 00:00:44.932
We will cover three main subtopics

10
00:00:44.932 --> 00:00:47.287
in today’s lecture

11
00:00:47.287 --> 00:00:52.079
The first subtopic is Why Romance Stories Are Eternally Loved

12
00:00:52.079 --> 00:00:54.608
Through this session, we’ll briefly explore

13
00:00:54.608 --> 00:00:58.208
the history of romance comics

14
00:00:58.208 --> 00:01:02.366
The second subtopic is The 7 Commandments of Romance Stories

15
00:01:02.366 --> 00:01:05.513
This session will discuss a few key rules

16
00:01:05.513 --> 00:01:08.921
that can enhance your romance storytelling

17
00:01:08.921 --> 00:01:13.683
The third subtopic is Romance Writing Tips Based on Reader Demographics

18
00:01:13.683 --> 00:01:16.264
We’ll delve into strategies for crafting stories

19
00:01:16.264 --> 00:01:18.317
that cater to gender-specific preferences

20
00:01:18.317 --> 00:01:20.624
in the genre

21
00:01:21.451 --> 00:01:25.253
Why Romance Stories Are Eternally Loved

22
00:01:25.634 --> 00:01:28.691
Let’s start by exploring the first subtopic:

23
00:01:28.691 --> 00:01:31.059
why romance stories remain eternally loved

24
00:01:31.059 --> 00:01:32.262
Before diving into the world of comics

25
00:01:32.262 --> 00:01:36.495
let’s first examine one of Korea’s major cultural phenomena

26
00:01:36.495 --> 00:01:41.485
The global K-POP market transcends borders and is loved worldwide

27
00:01:41.485 --> 00:01:44.272
While K-POP songs cover diverse themes

28
00:01:44.272 --> 00:01:46.861
like self-affirmation or familial love

29
00:01:46.861 --> 00:01:48.447
the predominant theme

30
00:01:48.447 --> 00:01:52.277
is love and relationships

31
00:01:52.277 --> 00:01:54.128
Whether it’s light and refreshing romance

32
00:01:54.128 --> 00:01:56.792
dramatic and stimulating first encounters

33
00:01:56.792 --> 00:01:59.802
jealousy between lovers

34
00:01:59.802 --> 00:02:02.232
or lyrics about longing after a breakup

35
00:02:02.232 --> 00:02:04.373
or even lyrics about showing an entirely transformed version of oneself

36
00:02:04.373 --> 00:02:07.366
love remains the central motif

37
00:02:07.366 --> 00:02:09.505
This isn’t just limited to K-POP

38
00:02:09.505 --> 00:02:11.702
Globally, the majority of song lyrics

39
00:02:11.702 --> 00:02:13.099
are centered on themes of love, this is because

40
00:02:13.099 --> 00:02:17.436
It’s because humans are fundamentally social beings

41
00:02:17.436 --> 00:02:19.887
The familial relationships we’re born into

42
00:02:19.887 --> 00:02:23.495
are often predetermined and outside of our control

43
00:02:23.495 --> 00:02:25.564
Since these relationships are not our choice

44
00:02:25.564 --> 00:02:27.891
let’s set them aside for now

45
00:02:27.891 --> 00:02:30.515
Next, let’s think about friendships

46
00:02:30.515 --> 00:02:34.291
Friendships are often influenced by proximity

47
00:02:34.291 --> 00:02:37.594
the people we live near, or environments like schools or academies

48
00:02:37.594 --> 00:02:41.295
that are shaped by our educational or career paths

49
00:02:41.295 --> 00:02:45.176
Since friendships are also largely shaped by external factors

50
00:02:45.176 --> 00:02:47.522
let’s set them aside as well

51
00:02:47.522 --> 00:02:51.713
Romantic relationships are the first type of bond

52
00:02:51.713 --> 00:02:56.634
that we actively choose based on our preferences and desires

53
00:02:56.634 --> 00:02:59.921
Additionally, since we typically form romantic relationships with just one person

54
00:02:59.921 --> 00:03:03.356
we invest considerable thought and care into the decision

55
00:03:03.356 --> 00:03:06.039
This dynamic becomes the driving force behind countless reflections on love

56
00:03:06.039 --> 00:03:09.356
and the creation of works about it

57
00:03:09.356 --> 00:03:13.139
Another significant Korean cultural wave is the film industry

58
00:03:13.139 --> 00:03:16.842
Unlike songs, which are condensed into three-minute formats

59
00:03:16.842 --> 00:03:20.204
films typically run for about two hours

60
00:03:20.204 --> 00:03:24.382
allowing for broader themes to be explored

61
00:03:24.382 --> 00:03:27.347
Movie protagonists might fight against powerful adversaries

62
00:03:27.347 --> 00:03:30.347
or face supernatural horrors

63
00:03:30.347 --> 00:03:34.228
Some films depict comedic, everyday life scenarios

64
00:03:34.228 --> 00:03:37.960
However, what often happens after all the conflicts

65
00:03:37.960 --> 00:03:41.554
 and obstacles are resolved?

66
00:03:41.554 --> 00:03:44.485
More often than not, the two protagonists who have endured everything together

67
00:03:44.485 --> 00:03:48.693
fall in love by the end

68
00:03:48.693 --> 00:03:53.020
The conclusion of overseas travel movies is almost always sealed with a kiss between the main characters

69
00:03:53.020 --> 00:03:57.149
While some may criticize these love stories as being predictable

70
00:03:57.149 --> 00:04:02.861
their power lies in the clarity of an undeniable happy ending

71
00:04:02.861 --> 00:04:04.832
After overcoming hardships and struggles

72
00:04:04.832 --> 00:04:07.535
the certainty of happiness draws people to love stories

73
00:04:07.535 --> 00:04:11.119
draws people to love stories

74
00:04:11.119 --> 00:04:13.198
This is also why shoujo manga consistently remains beloved

75
00:04:13.198 --> 00:04:15.069
consistently remains beloved

76
00:04:15.069 --> 00:04:16.861
Humans are social creatures

77
00:04:16.861 --> 00:04:19.198
and the idea of finding stability and attachment

78
00:04:19.198 --> 00:04:21.257
achieving happiness

79
00:04:21.257 --> 00:04:23.627
through love

80
00:04:23.627 --> 00:04:26.980
is a belief shared by many

81
00:04:26.980 --> 00:04:31.901
Moreover, love often serves as the greatest catalyst for personal growth

82
00:04:31.901 --> 00:04:34.881
There’s a saying that becoming romantically involved with someone new

83
00:04:34.881 --> 00:04:39.525
is like welcoming an entirely new world into your life

84
00:04:39.525 --> 00:04:42.760
You naturally take an interest in your partner’s hobbies, career

85
00:04:42.760 --> 00:04:45.366
and social circles

86
00:04:45.366 --> 00:04:49.584
embracing aspects of the world you were previously unfamiliar with

87
00:04:49.584 --> 00:04:52.594
If your partner shares many similarities with you

88
00:04:52.594 --> 00:04:54.779
you’ll find a deeper sense of empathy

89
00:04:54.779 --> 00:04:58.752
and engage in greater self-reflection than you would on your own

90
00:04:58.752 --> 00:05:02.089
Someone important to your partner becomes important to you

91
00:05:02.089 --> 00:05:04.941
allowing you to experience the world in a broader way

92
00:05:04.941 --> 00:05:07.149
As mentioned earlier

93
00:05:07.149 --> 00:05:09.579
most societies on Earth today

94
00:05:09.579 --> 00:05:12.653
lean toward monogamy

95
00:05:12.653 --> 00:05:15.792
Although exceptions like polyamory relationships exist

96
00:05:15.792 --> 00:05:17.397
romantic relationships predominantly follow

97
00:05:17.397 --> 00:05:20.446
a one-on-one dynamic

98
00:05:20.446 --> 00:05:22.328
In romantic relationships

99
00:05:22.328 --> 00:05:24.634
faithfulness to one another is a fundamental expectation

100
00:05:24.634 --> 00:05:27.515
This exclusivity often leads to feelings of jealousy

101
00:05:27.515 --> 00:05:31.307
and conflicts as couples work through their differences

102
00:05:31.307 --> 00:05:33.370
Because these relationships are unique and irreplaceable

103
00:05:33.370 --> 00:05:36.178
they feel incredibly urgent and significant to us

104
00:05:36.178 --> 00:05:38.024
As a result, people hope their love

105
00:05:38.024 --> 00:05:41.158
will be special and fateful

106
00:05:41.158 --> 00:05:44.050
Simultaneously, they desire to see their experiences reflected in others’ lives

107
00:05:44.050 --> 00:05:48.297
hoping for empathy and shared understanding

108
00:05:48.297 --> 00:05:49.731
Romance stories gain even more power here

109
00:05:49.731 --> 00:05:52.525
as they resonate with these deep, personal desires

110
00:05:52.525 --> 00:05:57.455
The singularity of romantic relationships at certain moments in life adds weight and significance to them

111
00:05:57.455 --> 00:05:58.938
This is why romance stories

112
00:05:58.938 --> 00:06:01.396
always maintain a consistent level of demand

113
00:06:01.396 --> 00:06:04.614
capturing people’s interest and affection

114
00:06:05.366 --> 00:06:08.831
The 7 Commandments of Romance Stories

115
00:06:09.366 --> 00:06:12.000
Now, let’s move on to the second subtopic

116
00:06:12.000 --> 00:06:15.960
The 7 Commandments of Romance Stories

117
00:06:15.960 --> 00:06:19.228
There’s a saying, "All roads lead to Rome"

118
00:06:19.228 --> 00:06:22.182
This phrase originated because all major roads in the Italian Peninsula

119
00:06:22.182 --> 00:06:24.337
were built radiating outward

120
00:06:24.337 --> 00:06:28.683
from Rome’s Via Appia

121
00:06:28.683 --> 00:06:31.683
Similarly, because we’re creating romance stories

122
00:06:31.683 --> 00:06:33.416
every narrative must ultimately

123
00:06:33.416 --> 00:06:36.099
lead to love

124
00:06:36.099 --> 00:06:38.143
In this session

125
00:06:38.143 --> 00:06:41.317
we’ll discuss seven rules that are guaranteed

126
00:06:41.317 --> 00:06:45.653
to guide your romance storytelling

127
00:06:45.653 --> 00:06:46.982
Fateful Encounters

128
00:06:46.982 --> 00:06:50.158
Romance webtoons revolve around love and affection

129
00:06:50.158 --> 00:06:52.563
It is essential to determine what kind of emotions

130
00:06:52.563 --> 00:06:56.337
you want to evoke in your readers

131
00:06:56.337 --> 00:07:00.117
The first goal could be to create a story so realistic

132
00:07:00.117 --> 00:07:04.079
that it resonates with people's experiences and elicits empathy

133
00:07:04.079 --> 00:07:08.000
This would include shoujo manga set in school environments

134
00:07:08.000 --> 00:07:09.851
In such works, the characters are often

135
00:07:09.851 --> 00:07:12.079
middle or high school students

136
00:07:12.079 --> 00:07:15.360
and the primary readers are usually

137
00:07:15.360 --> 00:07:17.792
of the same age group

138
00:07:17.792 --> 00:07:21.614
By creating relatable characters and settings

139
00:07:21.614 --> 00:07:23.487
and presenting engaging episodes

140
00:07:23.487 --> 00:07:25.470
these stories offer empathy, self-identification

141
00:07:25.470 --> 00:07:28.802
or the joy of vicarious satisfaction

142
00:07:28.802 --> 00:07:31.659
Another example could be modern romance dramas

143
00:07:31.659 --> 00:07:34.990
featuring office workers as protagonists

144
00:07:34.990 --> 00:07:38.411
The second goal might be to create a story that offers a sense of specialness and excitement

145
00:07:38.411 --> 00:07:42.515
through experiences that are hard to encounter in real life

146
00:07:42.515 --> 00:07:44.636
Even within the modern romance genre

147
00:07:44.636 --> 00:07:47.733
this could involve a romance with a chaebol hiding their identity

148
00:07:47.733 --> 00:07:51.883
a love interest revealed to be the CEO of a company

149
00:07:51.883 --> 00:07:54.013
or a secret relationship with an idol

150
00:07:54.013 --> 00:07:56.158
All of these would fall under this category

151
00:07:56.158 --> 00:07:58.043
These stories provide fresh excitement

152
00:07:58.043 --> 00:08:00.751
by featuring protagonists who navigate extraordinary situations

153
00:08:00.751 --> 00:08:03.782
within an otherwise ordinary setting

154
00:08:03.782 --> 00:08:07.313
The third goal could involve stories set in bygone eras

155
00:08:07.313 --> 00:08:11.129
or impossible fantasy worlds, expressing love in unique and imaginative ways

156
00:08:11.129 --> 00:08:13.222
For example, set in a time when class systems existed

157
00:08:13.222 --> 00:08:14.839
the protagonist could be a noble figure

158
00:08:14.839 --> 00:08:18.683
of great significance

159
00:08:18.683 --> 00:08:21.868
Alternatively, the story might focus on breaking the limitations of class systems

160
00:08:21.868 --> 00:08:23.888
empowering the protagonist to influence people

161
00:08:23.888 --> 00:08:26.891
through democratic means

162
00:08:26.891 --> 00:08:30.273
Another scenario could feature a protagonist who becomes a lonely but noble empress

163
00:08:30.273 --> 00:08:32.954
and dreams of a forbidden romance

164
00:08:32.954 --> 00:08:35.000
with a knight sworn to protect her

165
00:08:35.000 --> 00:08:37.728
Other examples include romances with cursed lovers

166
00:08:37.728 --> 00:08:40.416
who must transform into animals

167
00:08:40.416 --> 00:08:43.949
or narratives involving reincarnation or possession

168
00:08:43.949 --> 00:08:46.436
of fictional characters

169
00:08:46.436 --> 00:08:48.414
Although there are more classifications

170
00:08:48.414 --> 00:08:50.723
these three categories serve as representative examples

171
00:08:50.723 --> 00:08:53.398
Choosing a framework from within these categories

172
00:08:53.398 --> 00:08:56.970
can lead to successful outcomes

173
00:08:56.970 --> 00:08:59.792
The fourth rule is that the Protagonist must be loved by many

174
00:08:59.792 --> 00:09:02.932
The protagonist, or main character, must always be designed in a way

175
00:09:02.932 --> 00:09:06.545
that ensures they are loved by many people

176
00:09:06.545 --> 00:09:09.626
In male-oriented works, many female characters are often

177
00:09:09.626 --> 00:09:13.574
drawn to the protagonist’s abilities and strength, vying for his attention

178
00:09:13.574 --> 00:09:18.347
and he ultimately chooses the one he loves the most

179
00:09:18.347 --> 00:09:22.548
In female-oriented works, the female protagonist, even if unwilling

180
00:09:22.548 --> 00:09:25.158
is desired by numerous male characters

181
00:09:25.158 --> 00:09:28.558
These male characters may exhibit behaviors such as confinement, submission, or fascination

182
00:09:28.558 --> 00:09:32.743
and the female protagonist ultimately ends up with the one she loves most

183
00:09:32.743 --> 00:09:35.278
This reflects a universal human desire

184
00:09:35.278 --> 00:09:37.545
to be recognized and loved by others

185
00:09:37.545 --> 00:09:39.968
A slight incorporation of the harem dynamic

186
00:09:39.968 --> 00:09:42.973
where multiple characters love the protagonist

187
00:09:42.973 --> 00:09:45.248
often provides a stable narrative flow

188
00:09:45.248 --> 00:09:49.307
Conversely, a protagonist might be isolated

189
00:09:49.307 --> 00:09:51.944
due to their non-human appearance or specific circumstances

190
00:09:51.944 --> 00:09:55.010
leading to rejection by other characters

191
00:09:55.010 --> 00:09:57.728
For instance, in Beauty and the Beast

192
00:09:57.728 --> 00:10:01.257
the Beast is repeatedly rejected due to his monstrous appearance

193
00:10:01.257 --> 00:10:03.167
However, even in such stories

194
00:10:03.167 --> 00:10:05.067
the narrative must conclude

195
00:10:05.067 --> 00:10:07.545
with the protagonist finding someone who sees their inner beauty or virtues

196
00:10:07.545 --> 00:10:10.790
culminating in a fulfilled love story

197
00:10:10.790 --> 00:10:13.495
Without this resolution, the essence of a romance plot is lost

198
00:10:13.495 --> 00:10:15.953
If a story starts with everyone

199
00:10:15.953 --> 00:10:18.752
fearing and scorning the protagonist

200
00:10:18.752 --> 00:10:21.798
and it ends with them earning respect

201
00:10:21.798 --> 00:10:23.987
and gaining disciples or friends

202
00:10:23.987 --> 00:10:26.535
without a romantic resolution

203
00:10:26.535 --> 00:10:29.168
it becomes a mastery plot, not a romance plot

204
00:10:29.168 --> 00:10:33.960
Romance must end with love

205
00:10:33.960 --> 00:10:36.069
The Fifth Rule aligns

206
00:10:36.069 --> 00:10:38.198
 with the fourth rule

207
00:10:38.198 --> 00:10:42.703
The protagonist should receive diverse forms of love

208
00:10:42.703 --> 00:10:45.208
Romantic love is, of course, essential

209
00:10:45.208 --> 00:10:48.113
but beyond that, pets or mascots

210
00:10:48.113 --> 00:10:52.455
should also adore the protagonist as their master

211
00:10:52.455 --> 00:10:55.723
Even in works where there is a destined male lead

212
00:10:55.723 --> 00:10:57.224
the female protagonist’s father

213
00:10:57.224 --> 00:11:01.386
often dotes on her excessively

214
00:11:01.386 --> 00:11:03.513
 sometimes to a slightly overprotective degree

215
00:11:03.513 --> 00:11:05.332
The presence of supportive characters

216
00:11:05.332 --> 00:11:07.446
who always wish for the protagonist’s happiness

217
00:11:07.446 --> 00:11:11.350
allows readers to relate to and empathize with the protagonist

218
00:11:11.350 --> 00:11:14.188
experiencing vicarious satisfaction

219
00:11:14.188 --> 00:11:16.039
Love comes in many forms

220
00:11:16.039 --> 00:11:20.376
and all of it should converge on the protagonist

221
00:11:20.376 --> 00:11:24.142
The sixth rule is that the protagonist should possess traits

222
00:11:24.142 --> 00:11:26.950
that readers can relate to or aspire to

223
00:11:26.950 --> 00:11:30.208
Creating an exceptionally beautiful character

224
00:11:30.208 --> 00:11:33.019
who embodies a dream-like ideal

225
00:11:33.019 --> 00:11:35.683
is one of the most

226
00:11:35.683 --> 00:11:38.812
conventional approaches

227
00:11:38.812 --> 00:11:42.446
Alternatively, other characters in the shoujo manga might have striking appearances

228
00:11:42.446 --> 00:11:45.290
such as golden, pink, or lavender-colored hair

229
00:11:45.290 --> 00:11:47.000
in other words, flattering looks

230
00:11:47.000 --> 00:11:50.703
However, the protagonist could stand out by being ordinary

231
00:11:50.703 --> 00:11:52.856
with simple black hair and black eyes

232
00:11:52.856 --> 00:11:55.743
This contrast can also be an effective approach

233
00:11:55.743 --> 00:11:58.624
Since readers are also real-life individuals

234
00:11:58.624 --> 00:12:02.396
it’s easier for them to connect with relatable traits

235
00:12:02.396 --> 00:12:04.523
Even if the protagonist has an appearance

236
00:12:04.523 --> 00:12:06.535
that ordinary people might dislike

237
00:12:06.535 --> 00:12:08.587
providing them with an outstanding intelligence

238
00:12:08.587 --> 00:12:11.663
or an exceptionally kind nature

239
00:12:11.663 --> 00:12:14.426
makes them a character readers want to empathize with

240
00:12:14.426 --> 00:12:17.226
Everyone inherently knows their strengths

241
00:12:17.226 --> 00:12:20.752
and undiscovered charms

242
00:12:20.752 --> 00:12:24.386
Of course, since it's themselves, they are naturally aware of these qualities

243
00:12:24.386 --> 00:12:28.092
Others, however, can never fully understand someone

244
00:12:28.092 --> 00:12:31.307
as deeply as that person understands themselves

245
00:12:31.307 --> 00:12:33.083
This creates a desire within people

246
00:12:33.083 --> 00:12:36.228
to have their true selves and hidden charms

247
00:12:36.228 --> 00:12:39.004
recognized by others

248
00:12:39.004 --> 00:12:41.842
This desire is hidden within us

249
00:12:41.842 --> 00:12:44.719
Thus, giving a protagonist hidden appeal

250
00:12:44.719 --> 00:12:47.040
that’s not immediately obvious to others

251
00:12:47.040 --> 00:12:51.000
leads readers to wonder

252
00:12:51.000 --> 00:12:52.931
When will others realize this charm and regret their decisions?

253
00:12:52.931 --> 00:12:55.030
or When will they fall in love with the protagonist?

254
00:12:55.030 --> 00:12:57.941
Such anticipation draws readers deeper into the story

255
00:12:57.941 --> 00:13:00.901
Finally, the seventh and last rule

256
00:13:00.901 --> 00:13:03.584
Unless there’s a very special reason

257
00:13:03.584 --> 00:13:06.752
the protagonist’s love must succeed

258
00:13:06.752 --> 00:13:09.842
 in the end

259
00:13:09.842 --> 00:13:13.109
You might think, “Isn’t it obvious for love to prevail in shoujo manga?”

260
00:13:13.109 --> 00:13:14.851
However

261
00:13:14.851 --> 00:13:17.515
Surprisingly, many aspiring creators make the mistake

262
00:13:17.515 --> 00:13:19.329
of ending their stories with the protagonists breaking up even though they love each other

263
00:13:19.329 --> 00:13:22.000
or one of them dying and so on

264
00:13:22.000 --> 00:13:25.158
They create such tragic endings

265
00:13:25.158 --> 00:13:28.950
While tragic endings can be impactful

266
00:13:28.950 --> 00:13:30.896
There is even the saying

267
00:13:30.896 --> 00:13:34.099
If there are many scenes of happiness and warmth

268
00:13:34.099 --> 00:13:37.446
prepare yourself emotionally before diving into the official work

269
00:13:37.446 --> 00:13:40.458
because it’s probably filled with sorrow and tragedy

270
00:13:40.458 --> 00:13:42.416
It's a joke among fans of tragic tales

271
00:13:42.416 --> 00:13:44.666
Tears, being less frequent than laughter in daily life

272
00:13:44.666 --> 00:13:47.069
can evoke strong emotional satisfaction for authors

273
00:13:47.069 --> 00:13:50.910
knowing they’ve deeply moved

274
00:13:50.910 --> 00:13:53.594
their readers

275
00:13:53.594 --> 00:13:55.834
However, in reality

276
00:13:55.834 --> 00:13:58.386
no one wishes for their love to end in separation

277
00:13:58.386 --> 00:14:01.703
Even tragic endings often fall under the category

278
00:14:01.703 --> 00:14:05.297
of a "merry bad ending"

279
00:14:05.297 --> 00:14:08.416
Take Romeo and Juliet, for example

280
00:14:08.416 --> 00:14:10.642
Though they come from feuding families

281
00:14:10.642 --> 00:14:12.228
and their love leads to

282
00:14:12.228 --> 00:14:14.573
faking death to hide from the eyes of their family

283
00:14:14.573 --> 00:14:16.376
and plans to run away

284
00:14:16.376 --> 00:14:20.228
they have a misunderstanding after one sees another drink poison

285
00:14:20.228 --> 00:14:23.832
they end in tragedy with both dead

286
00:14:23.832 --> 00:14:27.980
But first of all, they were certain of their love for each other

287
00:14:27.980 --> 00:14:31.426
ensuring their love was realized

288
00:14:31.426 --> 00:14:34.493
Second, their love caused their families

289
00:14:34.493 --> 00:14:37.000
to regret their feud and reconcile

290
00:14:37.000 --> 00:14:40.515
Later, they reconcile while they grieve Romeo and Juliet

291
00:14:40.515 --> 00:14:42.842
In my own work, For Sita

292
00:14:42.842 --> 00:14:45.738
the male protagonist sacrifices himself

293
00:14:45.738 --> 00:14:48.267
sending the one he loves back to his past self

294
00:14:48.267 --> 00:14:50.271
While it seems to end in tragedy

295
00:14:50.271 --> 00:14:53.307
with his life ending

296
00:14:53.307 --> 00:14:56.426
the epilogue reveals that the protagonist’s sacrifice is rewarded

297
00:14:56.426 --> 00:14:59.713
and he reunites with Sita

298
00:14:59.713 --> 00:15:02.416
meeting his true love

299
00:15:02.416 --> 00:15:04.260
Thus, even if death

300
00:15:04.260 --> 00:15:07.000
or external separation occurs

301
00:15:07.000 --> 00:15:08.931
the emotional bond of love

302
00:15:08.931 --> 00:15:11.871
must remain intact

303
00:15:11.871 --> 00:15:13.950
If love cannot triumph in this life

304
00:15:13.950 --> 00:15:17.505
it must find resolution in the afterlife or another realm

305
00:15:17.505 --> 00:15:20.673
This is the core principle of romance stories

306
00:15:20.673 --> 00:15:22.962
fulfilling the reader’s expectations

307
00:15:22.962 --> 00:15:25.050
for love to prevail

308
00:15:25.921 --> 00:15:29.357
Writing Tips Based on Audience

309
00:15:29.684 --> 00:15:34.723
The third subtopic focuses on writing tips tailored to specific audience

310
00:15:34.723 --> 00:15:36.838
"Female-oriented" and "male-oriented" works

311
00:15:36.838 --> 00:15:38.478
refer to stories where the primary readership

312
00:15:38.478 --> 00:15:40.881
leans significantly toward one gender

313
00:15:40.881 --> 00:15:43.897
Over time, the lines between audience genders

314
00:15:43.897 --> 00:15:46.990
are becoming increasingly blurred

315
00:15:46.990 --> 00:15:49.366
However, for debut authors or creators

316
00:15:49.366 --> 00:15:51.851
tackling their first original work

317
00:15:51.851 --> 00:15:55.005
designing stories with a clear target demographic

318
00:15:55.005 --> 00:15:57.584
can yield better results

319
00:15:57.584 --> 00:16:00.881
To simplify, let’s assume that shoujo manga

320
00:16:00.881 --> 00:16:03.817
is female-oriented and action manga is male-oriented

321
00:16:03.817 --> 00:16:06.386
Let's assume this

322
00:16:06.386 --> 00:16:08.238
In female-oriented stories

323
00:16:08.238 --> 00:16:10.187
the protagonist often dies and gets reincarnated

324
00:16:10.187 --> 00:16:12.941
into a completely new world

325
00:16:12.941 --> 00:16:16.005
such as a Rococo-era setting

326
00:16:16.005 --> 00:16:18.188
a medieval world with social hierarchies

327
00:16:18.188 --> 00:16:21.188
or even a fantasy realm

328
00:16:21.188 --> 00:16:25.376
This represents the protagonist leaving modern reality

329
00:16:25.376 --> 00:16:27.792
Such features are prominent because

330
00:16:27.792 --> 00:16:31.149
real-world systems like glass ceilings or discrimination

331
00:16:31.149 --> 00:16:33.638
have often suppressed women

332
00:16:33.638 --> 00:16:36.673
encouraging them to remain submissive, historically

333
00:16:36.673 --> 00:16:39.158
Thus, female-oriented genres often reflect a desire

334
00:16:39.158 --> 00:16:43.644
to escape these constraints

335
00:16:43.644 --> 00:16:45.436
In male-oriented stories

336
00:16:45.436 --> 00:16:46.741
dramatic events occur within the protagonist’s existing reality

337
00:16:46.741 --> 00:16:49.158
For instance, dungeons might suddenly appear,

338
00:16:49.158 --> 00:16:52.079
or ordinary people begin awakening as hunters

339
00:16:52.079 --> 00:16:55.455
These disruptions break existing societal rules

340
00:16:55.455 --> 00:16:56.998
revealing the protagonist’s

341
00:16:56.998 --> 00:16:59.792
latent potential

342
00:16:59.792 --> 00:17:03.881
This represents the protagonist's world undergoing change

343
00:17:03.881 --> 00:17:06.139
Such narratives are common because

344
00:17:06.139 --> 00:17:09.248
historically, male success has often been through competition

345
00:17:09.248 --> 00:17:13.188
and were rewarded when successful

346
00:17:13.188 --> 00:17:16.019
while failure has sometimes led

347
00:17:16.019 --> 00:17:17.752
to a sense of worthlessness

348
00:17:17.752 --> 00:17:21.723
This fuels a desire for self-validation that is reflected in these stories

349
00:17:21.723 --> 00:17:23.744
Although both genres feature

350
00:17:23.744 --> 00:17:26.366
major disruptions for the protagonists

351
00:17:26.366 --> 00:17:29.634
female-oriented stories typically involve leaving the existing world

352
00:17:29.634 --> 00:17:32.198
while male-oriented stories maintain the world

353
00:17:32.198 --> 00:17:36.970
but introduce new rules favorable to the protagonist

354
00:17:36.970 --> 00:17:41.376
By understanding these consumer tendencies

355
00:17:41.376 --> 00:17:45.465
creators can craft stories more strategically

356
00:17:45.465 --> 00:17:47.082
Designing narratives that satisfy readers’ latent desires

357
00:17:47.082 --> 00:17:50.347
and provide vicarious satisfaction is important

358
00:17:50.347 --> 00:17:52.535
Let us go into more detail

359
00:17:52.535 --> 00:17:55.832
For example, in female-oriented romance stories

360
00:17:55.832 --> 00:17:58.837
male protagonists can be “bad boys” or even tyrants

361
00:17:58.837 --> 00:18:01.475
but they must be kind to the heroine

362
00:18:01.475 --> 00:18:05.505
Additionally, they should avoid harming children or animals

363
00:18:05.505 --> 00:18:07.928
This aligns with the audience’s desire

364
00:18:07.928 --> 00:18:09.673
 for idealized satisfaction

365
00:18:09.673 --> 00:18:11.557
distancing the narrative

366
00:18:11.557 --> 00:18:14.139
 from real-world crimes

367
00:18:14.139 --> 00:18:16.410
It is making sure that the characters

368
00:18:16.410 --> 00:18:18.970
do not cross the line of morality

369
00:18:18.970 --> 00:18:20.891
For example, in The Archer’s Prey

370
00:18:20.891 --> 00:18:23.465
the protagonist, Lee Mu-Gil

371
00:18:23.465 --> 00:18:27.505
is depicted as a morally ambiguous character that has slept with both men and woman

372
00:18:27.505 --> 00:18:30.386
He is a killer who takes assassination requests

373
00:18:30.386 --> 00:18:33.356
He is rude and has a bad attitude as well

374
00:18:33.356 --> 00:18:34.978
When he accidentally touches the heroine inappropriately

375
00:18:34.978 --> 00:18:37.297
when he falls over

376
00:18:37.297 --> 00:18:40.673
his reaction diverges from typical male leads

377
00:18:40.673 --> 00:18:42.546
who would normally apologize profusely

378
00:18:42.546 --> 00:18:45.228
and act flustered

379
00:18:45.228 --> 00:18:47.890
Instead, Lee Mu-Gil offers his chest and says

380
00:18:47.890 --> 00:18:49.663
“Go ahead, touch me too"

381
00:18:49.663 --> 00:18:51.120
"let’s call it even”

382
00:18:51.120 --> 00:18:54.327
This is how he reacts

383
00:18:54.327 --> 00:18:57.208
He is a surprising character

384
00:18:57.208 --> 00:19:00.554
Mu-gil, due to his childhood trauma of abuse

385
00:19:00.554 --> 00:19:02.881
never harms children

386
00:19:02.881 --> 00:19:06.812
and strictly confines his violence to villains

387
00:19:06.812 --> 00:19:08.179
He embodies the concept of "necessary evil,"

388
00:19:08.179 --> 00:19:12.109
remaining committed to eradicating evil with evil

389
00:19:12.109 --> 00:19:14.346
As a result, readers of this comic

390
00:19:14.346 --> 00:19:16.287
feel reassured that Mu-gil will not harm

391
00:19:16.287 --> 00:19:17.959
innocent characters

392
00:19:17.959 --> 00:19:20.376
and can enjoy the story

393
00:19:20.376 --> 00:19:22.733
with ease

394
00:19:22.733 --> 00:19:24.462
In Who Made Me a Princess

395
00:19:24.462 --> 00:19:26.455
the protagonist's father is portrayed as

396
00:19:26.455 --> 00:19:30.000
an emperor who ascended to the throne through bloodshed

397
00:19:30.000 --> 00:19:31.792
Before the protagonist is reincarnated into the story

398
00:19:31.792 --> 00:19:34.089
he is depicted in the original work as a cold-hearted man

399
00:19:34.089 --> 00:19:36.485
who heartlessly rejects his child

400
00:19:36.485 --> 00:19:38.621
However, after the reincarnated protagonist

401
00:19:38.621 --> 00:19:40.743
interacts with her father

402
00:19:40.743 --> 00:19:43.832
it becomes evident that he does not oppress the common people

403
00:19:43.832 --> 00:19:48.178
but targets only the aristocracy

404
00:19:48.178 --> 00:19:51.772
Additionally, it is revealed that his perceived coldness toward the protagonist in the original novel

405
00:19:51.772 --> 00:19:56.119
stemmed from the meddling of antagonistic siblings

406
00:19:56.119 --> 00:19:59.020
On the other hand, in female-oriented romance

407
00:19:59.020 --> 00:20:00.391
Boys’ Love (BL)

408
00:20:00.391 --> 00:20:04.030
the hurdle for empathy becomes higher in BL

409
00:20:04.030 --> 00:20:06.802
Since the protagonists' genders differ from the majority of the audience

410
00:20:06.802 --> 00:20:10.485
a greater sense of distance arises

411
00:20:10.485 --> 00:20:13.280
This is reflected in the popularity of genre tropes

412
00:20:13.280 --> 00:20:15.545
such as dominant characters who, blinded by love

413
00:20:15.545 --> 00:20:19.485
resort to violence or commit illegal acts

414
00:20:19.485 --> 00:20:23.752
In male-oriented genres, characters are granted a higher level of moral leniency

415
00:20:23.752 --> 00:20:25.956
As long as their personal convictions are deemed just

416
00:20:25.956 --> 00:20:29.624
they can break societal ethics or laws

417
00:20:29.624 --> 00:20:33.475
This allows readers to feel catharsis even when characters employ extreme measures

418
00:20:33.475 --> 00:20:35.433
or they may even enjoy watching corrupted laws and systems

419
00:20:35.433 --> 00:20:39.149
being restructured

420
00:20:39.149 --> 00:20:42.792
Although these works are labeled "male-oriented" and "female-oriented" for convenience

421
00:20:42.792 --> 00:20:47.554
female readers also enjoy hunter and dungeon genres

422
00:20:47.554 --> 00:20:49.586
Similarly, male readers are drawn to romantic fantasies

423
00:20:49.586 --> 00:20:52.921
and reincarnation-based shoujo works

424
00:20:52.921 --> 00:20:55.911
In modern times, traditional constructs like "the man box"

425
00:20:55.911 --> 00:21:00.010
or gender discrimination are gradually diminishing

426
00:21:00.010 --> 00:21:03.752
As a result, works like Omniscient Reader’s Viewpoint and Return of the Mount Hua Sect

427
00:21:03.752 --> 00:21:05.852
are gaining popularity

428
00:21:05.852 --> 00:21:08.297
among both male and female readers

429
00:21:08.297 --> 00:21:10.662
In the case of Omniscient Reader’s Viewpoint

430
00:21:10.662 --> 00:21:12.565
it is known to be created by

431
00:21:12.565 --> 00:21:15.198
the husband-and-wife duo Sing Shong

432
00:21:15.198 --> 00:21:18.723
This work showcases features of male-oriented genres

433
00:21:18.723 --> 00:21:21.784
such as dungeon breaks

434
00:21:21.784 --> 00:21:23.515
and people awakening to new powers

435
00:21:23.515 --> 00:21:27.792
The protagonist, Kim Dokja, is the only one who knows the future

436
00:21:27.792 --> 00:21:32.317
At the same time, the work also incorporates elements of female-oriented genres

437
00:21:32.317 --> 00:21:35.157
For instance, Yoo Joonghyuk, a character admired by readers

438
00:21:35.157 --> 00:21:38.208
possesses traits akin to a main romantic lead

439
00:21:38.208 --> 00:21:41.271
A stunning appearance, a strong-willed personality

440
00:21:41.271 --> 00:21:43.577
yet a willingness to bend for the protagonist

441
00:21:43.577 --> 00:21:45.426
is what he acquires

442
00:21:45.426 --> 00:21:48.226
Furthermore, characters of all genders and ages

443
00:21:48.226 --> 00:21:51.743
express affection for Kim Dokja, making the story appealing to a wide audience

444
00:21:51.743 --> 00:21:54.135
Additionally, even with a relatively ordinary appearance

445
00:21:54.135 --> 00:21:55.684
there are those who come to recognize the protagonist's true value

446
00:21:55.684 --> 00:21:59.327
through their sacrificial nature

447
00:21:59.327 --> 00:22:01.117
Take the example of Chung Myung in Return of the Mount Hua Sect

448
00:22:01.117 --> 00:22:03.057
He has a self-reliant personality

449
00:22:03.057 --> 00:22:05.386
single-handedly determined

450
00:22:05.386 --> 00:22:08.614
to revive his declining sect

451
00:22:08.614 --> 00:22:10.254
Furthermore, as a reincarnated character

452
00:22:10.254 --> 00:22:14.772
he possesses immense potential and extraordinary skills

453
00:22:14.772 --> 00:22:16.541
Since the genre is martial arts action

454
00:22:16.541 --> 00:22:20.594
it exhibits characteristics of male-oriented works

455
00:22:20.594 --> 00:22:24.245
However, Chung Myung also leads the members of his sect together

456
00:22:24.245 --> 00:22:27.178
demonstrating familial bonds

457
00:22:27.178 --> 00:22:30.053
He becomes the central figure of various affections as he breaks down prejudices

458
00:22:30.053 --> 00:22:32.812
held by many surrounding characters

459
00:22:32.812 --> 00:22:35.590
Thus, it is beneficial to define your target audience from the outset clearly

460
00:22:35.590 --> 00:22:38.008
whether they lean toward male-oriented, female-oriented works

461
00:22:38.008 --> 00:22:40.347
or both genders

462
00:22:40.347 --> 00:22:43.489
as well as whether they are students or working professionals

463
00:22:43.489 --> 00:22:47.347
It is important to define this before you begin

464
00:22:47.347 --> 00:22:50.241
That concludes today's discussion on the three main topics

465
00:22:50.241 --> 00:22:52.302
where I have shared the narrative conventions of the romance genre

466
00:22:52.302 --> 00:22:54.673
and my own techniques

467
00:22:54.673 --> 00:22:56.089
How was it?

468
00:22:56.089 --> 00:22:59.514
Through the chapter on why romance stories remain universally beloved

469
00:22:59.514 --> 00:23:04.376
we briefly explored the history of romance and shoujo comics

470
00:23:04.376 --> 00:23:07.894
I explained that humanity, as inherently social beings

471
00:23:07.894 --> 00:23:11.752
constantly seeks connections with others

472
00:23:11.752 --> 00:23:14.703
Additionally, the societal norm

473
00:23:14.703 --> 00:23:16.482
of monogamy

474
00:23:16.482 --> 00:23:19.815
underpins the desire for love

475
00:23:19.815 --> 00:23:22.683
to feel special, meaningful, relatable

476
00:23:22.683 --> 00:23:26.782
as well as many other emotions

477
00:23:26.782 --> 00:23:30.016
This is why romance and shoujo comics remain powerful

478
00:23:30.016 --> 00:23:33.471
and enjoy enduring love from audiences

479
00:23:33.471 --> 00:23:36.218
Please remember this as you create your works

480
00:23:36.218 --> 00:23:40.083
In the second section, The Seven Commandments of Romance Stories

481
00:23:40.083 --> 00:23:42.214
I discussed several guidelines

482
00:23:42.214 --> 00:23:45.545
that can enhance romance storytelling

483
00:23:45.545 --> 00:23:49.089
Of course, these rules are not absolute

484
00:23:49.089 --> 00:23:50.935
Above all

485
00:23:50.935 --> 00:23:54.198
fun and logical consistency should take precedence over rules

486
00:23:54.198 --> 00:23:56.162
By subverting clichés

487
00:23:56.162 --> 00:23:59.871
you can create even more engaging narratives

488
00:23:59.871 --> 00:24:02.530
However, when struggling to design a story

489
00:24:02.530 --> 00:24:05.099
adopting such rules can make it easier

490
00:24:05.099 --> 00:24:07.490
to craft a narrative

491
00:24:07.490 --> 00:24:10.426
that resonates with the audience

492
00:24:10.426 --> 00:24:13.156
The third section covered writing tips

493
00:24:13.156 --> 00:24:16.446
tailored to different audiences of romance stories

494
00:24:16.446 --> 00:24:19.538
We explored strategic methods for designing narratives

495
00:24:19.538 --> 00:24:24.386
based on distinctions between female-oriented and male-oriented genres

496
00:24:24.386 --> 00:24:28.419
By precisely targeting your intended audience

497
00:24:28.419 --> 00:24:31.168
and following the corresponding conventions

498
00:24:31.168 --> 00:24:35.406
you can produce higher-quality works

499
00:24:35.406 --> 00:24:37.820
If you’ve already determined whether your story

500
00:24:37.820 --> 00:24:41.574
is female- or male-oriented

501
00:24:41.574 --> 00:24:44.363
but need additional breakthrough ideas or genre-specific rules

502
00:24:44.363 --> 00:24:49.030
not mentioned in today's lecture

503
00:24:49.030 --> 00:24:51.450
try to analyze the works you've enjoyed so far

504
00:24:51.450 --> 00:24:54.455
this is another strategy you can use

505
00:24:54.455 --> 00:24:57.582
Pick five examples of female-oriented works

506
00:24:57.582 --> 00:25:00.574
and five examples of male-oriented works

507
00:25:00.574 --> 00:25:02.091
More specifically

508
00:25:02.091 --> 00:25:05.822
review the top five or six ranked webtoons by day

509
00:25:05.822 --> 00:25:09.644
and read them all

510
00:25:09.644 --> 00:25:13.772
Try summarizing their plots in a single sentence

511
00:25:13.772 --> 00:25:15.990
You’ll likely notice recurring elements

512
00:25:15.990 --> 00:25:18.276
shared among stories targeting similar demographics

513
00:25:18.276 --> 00:25:22.307
such as women in their 20s

514
00:25:22.307 --> 00:25:26.802
or teenage boys

515
00:25:26.802 --> 00:25:28.333
These common patterns

516
00:25:28.333 --> 00:25:32.000
reflect not the unique identity of a single work

517
00:25:32.000 --> 00:25:35.990
but the conventions of the genre itself

518
00:25:35.990 --> 00:25:38.772
Using this method

519
00:25:38.772 --> 00:25:42.277
if your story has a clear target audience and genre

520
00:25:42.277 --> 00:25:44.627
you can analyze and compile the elements

521
00:25:44.627 --> 00:25:46.037
that make other successful works

522
00:25:46.037 --> 00:25:49.287
If you are curious in what elements these are

523
00:25:49.287 --> 00:25:51.662
you can use stories that are already published

524
00:25:51.662 --> 00:25:53.535
try summarizing them in one sentence

525
00:25:53.535 --> 00:25:55.988
and discover and organize the common patterns

526
00:25:55.988 --> 00:25:57.644
that you can find

527
00:25:57.644 --> 00:26:00.851
and develop yourself

528
00:26:00.851 --> 00:26:03.639
I hope today’s lecture

529
00:26:03.639 --> 00:26:04.968
has been helpful to everyone

530
00:26:04.968 --> 00:26:06.505
That concludes this session

531
00:26:06.514 --> 00:26:07.385
Thank you

532
00:26:08.533 --> 00:26:13.682
Why Romance Stories Are Universally Beloved
The power of love stories
Assurance of a happy ending
Love as motivation for growth
The weight of a unique, one-of-a-kind romantic relationship

533
00:26:13.683 --> 00:26:15.760
The 7 Commandments of Romance Stories
Gain empathy with a story that feels realistic and relatable
Create uniqueness and excitement with a story that’s hard to experience
Express love through memories or within a fantasy setting

534
00:26:15.760 --> 00:26:17.948
Protagonist is loved by multiple characters
Protagonist must receive various forms of love
Protagonist should be empathizable
Protagonist's love must ultimately be fulfilled

535
00:26:17.948 --> 00:26:19.881
Writing Tips for Different Audience Groups
Women's taste vs. Men's taste
Readers leans toward one gender

Characteristics of women's taste
Many women’s genre works are set in new, imaginative worlds

536
00:26:19.881 --> 00:26:21.683
The characters in women's genre work typically avoid crossing a minimum moral line

Characteristics or men's taste
In many men’s genre works, an unexpected change occurs in the protagonist's world

537
00:26:21.683 --> 00:26:23.395
Men's taste genre works are less sensitive to characters who break moral rules and norms as long as the character's personal beliefs are justified

The story should allow the reader to satisfy their latent desires vicariously