Full transcript
0:00Hello and welcome to another genre
0:02guide. Today we're going over a big one
0:04and that is contemporary romance. So
0:07this basically your typical romance.
0:09There are various variations of
0:11contemporary romance, but most romances
0:14these days are either contemporary or
0:17historical. And so today we're covering
0:18contemporary and you can really take a
0:20lot of what I'm going to talk about in
0:22this video and adapt it to a variety of
0:25the different subg genres within
0:27contemporary romance. Now, in case
0:28you're wondering like what is this guy
0:30doing talking about romance? It doesn't
0:32look like he's a romance writer. That's
0:34correct. I created this via a
0:36collaboration by doing a lot of reading
0:38on the subject cuz I'm like super nerdy
0:40about genre and figuring out all of the
0:42tropes and things as well as uh actually
0:45doing an AI analysis of actual
0:48bestsellers in the genre. So, between
0:50those two things and uh and literally
0:52we're talking like a chapter by chapter
0:54analysis, not just a like tell me about
0:56this book kind of uh lazy prompting uh
0:59I've got a whole system set in place to
1:01to do this analysis and it allows me to
1:04get some pretty interesting insights on
1:06the genre. So, with that in mind, let's
1:08go into some of the tropes. So, I've
1:10split this into major tropes and common
1:13tropes. And the major ones are the ones
1:15that if you miss too many of these,
1:17readers will likely have an issue with
1:20the book. Um although not all of these
1:23are necessarily found in every
1:24contemporary romance. They're just some
1:27of the most common. So first we have
1:29forced proximity. And this kind of goes
1:31along with the enemies to lover lovers
1:33or the grumpy sunshine down here. But
1:35this is where our characters for
1:37whatever reason are forced to interact
1:39uh within the confines of the story
1:42often uh in ways that like they wouldn't
1:44necessarily interact under normal
1:46circumstances but because of the forced
1:48proximity they are forced to do so uh
1:52and that leads to the romance. A slow
1:54burn romance is also very common. Uh the
1:56emotional and physical relationship
1:57develops at an agonizingly slow pace.
2:00This is great for just establishing
2:02tension. It relies on extended pining,
2:04near misses, and gradual trust building
2:06rather than immediate consum
2:07consummation. Uh, of course, the
2:09possible exception to this is if you
2:11have the trope of um instant love or
2:13insta love as it's often called. Um, but
2:16I'd say yeah, typically you're going to
2:18have the romance sort of develop over
2:20the course of the entire novel. Uh,
2:22found family is next. This one's very
2:24common in u most genres of romance uh
2:28where the protagonist makes uh very
2:30strong relationships not with not just
2:33with the uh romantic partner but also
2:36with other people. Uh the uh there's a
2:39wounded or damaged hero or heroine where
2:41the protagonists carry significant
2:43emotional baggage usually past trauma or
2:46professional insecurity. Uh this is very
2:49common and one of the sort of sub themes
2:51of romance besides just the theme of
2:54love conquering all is this idea that
2:57the protagonist uh usually finds in the
3:00romance in the relationship some kind of
3:02empowerment that helps them overcome
3:05this uh deep wound. Then we get Grumpy
3:07Sunshine where one character is
3:09emotionally guarded the other one is
3:11happy golucky and they kind of like uh
3:13compliment each other in hilarious ways.
3:15Uh there's the enemies to lovers or the
3:18reluctant partnership. Now, I actually
3:20have a whole guide that I've that I'm
3:22working on for enemies to lovers
3:24specifically because it's such a common
3:26trope. Um but this is something you'll
3:29see in a lot of romances. And then
3:30there's healing through love. And I sort
3:32of talked about this earlier with the
3:34trauma, but uh the narrative arc
3:36explicitly demonstrates that personal
3:38trauma or emotional shutdown can be
3:40reversed through the consistent presence
3:41of a supportive partner. It emphasizes
3:43the transformative power of
3:44unconditional love. We got the mistaken
3:46identity and the community communication
3:49crisis. This goes all the way back to
3:51Jane Austin, right? Uh there's some kind
3:53of communication mishap. This is my
3:56wife's biggest pet peeve with most
3:59romances today is that there's so many
4:01communication crisis that could have
4:03been avoided if you just had a
4:05conversation. But you know, there it is.
4:07So those are the the the major tropes.
4:09Now, some of the more common ones is a
4:11fake dating or transactional arrangement
4:14where the characters sort of like uh
4:16just have to pretend that they're dating
4:18for whatever reason. There's some kind
4:20of grand gesture uh that might happen.
4:24There's often a protective or possessive
4:26love interest. This is especially true
4:28of other subg genres of romance uh such
4:30as like mafia romance or alpha male
4:33romance. Uh but you definitely see that
4:35in general. There might be some
4:36childhood friends reunited. So, this can
4:38go with the friends to lovers thing. Um,
4:41and there's usually some mentorship or
4:43tutor romance. One character possesses a
4:46specific professional or academic
4:47expertise that forces them into a guide
4:50role. Uh, this could be part of that um
4:53uh that forced proximity here earlier.
4:56And there's often a meddling matchmaker,
4:58which could be a well-intentioned
5:00friend, family member, or community
5:01figure. They could be a hidden wealth or
5:03class disparity. And uh often second
5:06chance romance is another trope that
5:08shows up where the characters actually
5:10had tried before to be uh more than
5:13friends and it didn't work out and now
5:14they're looking to to go up again. Um
5:18and it doesn't actually have to be with
5:20the same characters either. Like they
5:21could have had a really traumatic
5:23relationship in the past and they just
5:24sort of swore off all relationships and
5:27that could be what Second Chance is in
5:28this case. Um, so there's that. And then
5:31I do have more fleshed out explanations
5:33for each one of these, uh, all in the
5:36book that I've assembled for this. And,
5:39uh, by the way, you can get this book on
5:41Amazon for, I think, $5. Uh, but I
5:43actually don't recommend you get it that
5:44way because you can get them all,
5:46including all of my other genre guides,
5:49uh, at no extra cost when you join Story
5:51Hacker AI, which I will have a link a
5:54link to down below. We also have all of
5:56these genres fully integrated into my uh
6:00recently announced tool story hacker OS
6:02so that you can actually use AI to to uh
6:06make a contemporary romance that fits
6:07all the tropes and does all the things
6:09and then all you have to do is bring in
6:11your unique flare to make it unique. So
6:14that's uh one of the cool things about
6:15it. You can check that out again down
6:17below if you're interested. All right,
6:18so now let's get to my favorite part
6:20which is the plot template. So, here is
6:22where I take the average number of
6:24chapters of all of the books that I
6:26analyzed. And the books that I analyze
6:27are all mega bestsellers usually in the
6:30particular genre. They're all doing
6:32exceptionally well. So, we have some
6:33kind of verification that these tropes
6:36work. And in this case, that average was
6:38actually 48 chapters, which sounds like
6:40a lot, but I found that romance tends to
6:42have shorter chapters. So, uh we'll keep
6:45that in mind as we go through this. I'm
6:47going to briefly go through each of
6:48these. I won't spend too much time on
6:50any one of them. You can of course take
6:52a look at the the full guide either by
6:54buying it on Amazon uh or getting it
6:57through the membership. Uh but hopefully
6:58this will give you a good overview of
7:00what we got here. So we start with the
7:01chaotic normal open by immersing the
7:03reader in the protagonist warm chaotic
7:05slightly disordered world establishing
7:08her as someone defined by either
7:09relentless warmth or guarded self-p
7:11protection. So she's she's got an
7:13ordinary world but it's chaotic. Then we
7:15get the dream and the threat. This
7:16shifts focus to the protagonist's deeply
7:18personal ambition which could be a
7:20business, a creative passion or a
7:21professional calling that carries
7:22profound emotional significance. So
7:24there's something that they want, right?
7:26Something they want very badly. Uh then
7:29we get the love interest wound. So we
7:31pivot to the love interest perspective
7:32for the first time. Uh very often
7:34romance books will be written as a
7:36two-part perspective. So you'll switch
7:38between them and you can even have
7:40firsterson perspective for both of them.
7:42That's one of the few instances where
7:43that is, you know, allowed, right? Pivot
7:46to the love interest perspective for the
7:48first time, revealing the carefully
7:49constructed walls he has built and the
7:51trauma or pressure that keeps him
7:52emotionally distant, right? So, we move
7:54to him and then we get the inciting
7:57crisis. Deliver the full force of the
7:58inciting incident from the protagonist
8:00perspective, a catastrophic
8:01miscommunication, financial disaster, or
8:03an institutional betrayal that strips
8:04her away her sense of security and makes
8:06her dream impossible. Then there's the
8:08refusal. Both protagonists actively
8:10attempt to solve their crisis through
8:11conventional means while avoiding the
8:13obvious solution, each other. There's
8:15chapter six, the failed alternative. The
8:17protagonist's last conventional option
8:18collapses, leaving her cornered and
8:20forcing her to seriously consider the un
8:22unthinkable. Use a comedic or
8:24humiliating uh sequence like a botched
8:26pitch, a disastrous meeting, a
8:27mortifying online meetup mixup that
8:29demonstrates her resourcefulness even as
8:31it deepens her predicament. Then we get
8:33the intrusion. The love interest invades
8:35the protagonist space or world, her
8:37workplace, her home, her community.
8:38demonstrating that he has gathered
8:40information about her and is willing to
8:42cross boundaries to secure her
8:43cooperation, whatever that may be. Then
8:45we get the failed schemes where the love
8:47interest and his comic relief ally
8:49deploy a series of increasingly
8:50ridiculous schemes to manufacture
8:52connection with the resistant
8:53protagonist. So, he's smitten or
8:57potentially so, and uh and she's she's
8:59got too much on her mind at this point.
9:01Chapter nine is the glimpse beneath. The
9:04circumstance forces the protagonist and
9:06love interest into closer, more
9:07sustained proximity, allowing the
9:09protagonist to witness an unexpected
9:10dimension of the love interest, which
9:12could be genuine competence or hidden
9:14kindness or a private vulnerability he
9:16never displays publicly. Uh, by the way,
9:18um, should also note that the two met
9:21early on uh, in those first chapters.
9:24Uh, so they get right into the the meat
9:27of the story. Then we get chapter 10,
9:29the public test. plays a protagonist in
9:31a highstakes public or social setting
9:32where she attempts her to advance her
9:34dream or her original romantic goal with
9:37the love interest present as an
9:38unwelcome complication. So, she's still
9:40like focused on this big thing and yet
9:43she's being distracted by the love
9:44interest. Chapter 11 is the negotiation.
9:46So, we confine the protagonist and love
9:48interest together in an intimate
9:49inescapable space like a car, a small
9:52room or a late night setting where the
9:53love interest deploys psychological
9:55tactics to wear down her resistance.
9:57Chapter 12 is the deal struck. The
9:59arrangement is formally agreed upon,
10:00often with the comic relief ally
10:02aggressively negotiating terms on the
10:04protagonist behalf to remove her ability
10:06to refuse what she secretly wants.
10:08Chapter 13 is the new normal. The
10:09protagonist enters the love interest
10:11world or routine for the first time
10:12under the terms of the arrangement,
10:14encountering his found family household,
10:16a chaotic, good-natured ensemble who
10:17reacts to her with a comic absurdity.
10:19Revealed that the love interest is more
10:21than his public persona suggests, more
10:22competent, more thoughtful, and more
10:24capable of genuine focus than the
10:25protagonist expected. So, we're starting
10:27to open up those boundaries there. Uh,
10:29and speaking of boundaries, chapter 14
10:31is boundary testing. The protagonist
10:33settles into a rhythm of their
10:34arrangement with bickering, teasing, and
10:36rule testing functioning as an emotional
10:37shortorthhand for the attraction neither
10:39will acknowledge. Chapter 15 is the
10:40unguarded performance. The protagonist
10:42arrives in a state of emotional
10:44agitation caused by a setback in her B
10:46story. This could be professional
10:47sabotage, family pressure, and her
10:49distress disrupts arrangements uh the
10:52arrangement's usual rhythm. So, nothing
10:54is easy at this point. point. Then we
10:56get the first pinch point which is one
10:58of those more universal plot points. An
11:00outside force applies sudden pressure to
11:02the protagonist like a jealous ex, a
11:04manipulative rival, a toxic family
11:05member, etc. The mentor gives a warning,
11:08introduce a deep and wise elder, mentor,
11:10maternal paternal figure who offers the
11:12protagonist crucial perspective. Either
11:14contacts that humanizes the love
11:16interest damage or a cautionary warning
11:18that he is broken or carries an
11:19unresolved wound. Chapter 18 is a
11:21protective intervention. A social
11:23gathering or community event becomes a
11:24setting for a threat from outside the
11:26central relationship. Chapter 19 is late
11:28night confessions. Oo. So circumstance
11:31keeps the protagonist and the love
11:33interest together late into the night
11:35stripping away their person public
11:36personas through extended honest
11:38conversation. And this is like one of
11:40the first uh physical moments although
11:42nonsexual at this point but uh we do
11:44have a slightly increased spice level
11:46here of 3 out of 10. Chapter 20 is the
11:48love interest's reckoning. So here we
11:50go. shift fully to the love interest
11:52perspective to confirm that his feelings
11:54have outpaced the arrangement. He once
11:55again he's smitten. Chapter 21 is the
11:57charge the charged almost a shared
12:01activity like a recreational outing, a
12:03competitive game, a physically demanding
12:05task functions as displacement for
12:07unresolved sexual tension. Uh and then
12:09chapter 22, we get the first kiss. The
12:11accumulated tension finally breaks into
12:13the first genuine mutually acknowledged
12:16kiss, often triggered by a small
12:18specific detail or an irresistible
12:20moment rather than a planned seduction.
12:21That leads to the breakthrough in
12:23chapter 23. Following the kiss and a
12:25period of charged uncertainty, the
12:27physical and emotional dams fully break.
12:29So, this is a moment of physical
12:30intimacy. Spice level is at 8 out of 10.
12:33Of course, if you're writing cleaner
12:35romance, then you would uh pull this
12:38back considerably. It would probably be
12:40something uh a little bit uh less
12:42physical like saying I love you for the
12:44first time or something like that. So
12:45you'd have to adjust this depending on
12:47your specific variety. Uh but there you
12:50go. Chapter 24, the renegotiated rules.
12:52The morning after the breakthrough,
12:54instead of admitting their true
12:55feelings, the protagonist renegotiate
12:56the rules of their arrangement to
12:58accommodate intimacy under the guise of
12:59it being temporary, casual, or strictly
13:01secret. But chapter 25 is the false
13:03paradise. enter the honeymoon phase of
13:05the relationship characterized by
13:06domestic ease, mundane joys, and quiet
13:09intimacy that demonstrates compatibility
13:11outside of dramatic moments. Chapter 26
13:13is inter integration into the found
13:15family. The protagonist is fully drawn
13:16into the love interest, found family or
13:18community. Chapter 27, the quiet
13:20devotion revealed where the protagonist
13:22discovers through an unexpected source
13:24or a recontextualizing uh revelation the
13:27full pattern of the love interests
13:28hidden gestures of care. Uh, so this
13:30could be small accumulated acts of
13:32devotion she had previously dismissed as
13:34incidental. But then we get to the
13:36protagonist wound. A trigger, an
13:38encounter from her past, a cutting
13:39comment, an intimate moment that goes
13:41wrong, forces the protagonist to
13:42confront and begin to articulate her
13:44deepest core wound, whether trauma,
13:45shame, loss, or fundamental belief that
13:47she is broken or unworthy. This is where
13:49that u past trauma rears its ugly head.
13:52Chapter 29 is the love interest wound.
13:54In parallel and reciprocal disclosure,
13:56the love interest reveals for the first
13:58time, often to anyone, the full truth of
14:00his deepest trauma, whether childhood
14:01abuse, a catastrophic loss, a survivor's
14:03guilt, or defining betrayal. So, he's
14:05also got some baggage. And having now
14:08shared this baggage, the both of them,
14:11we move into the healing step. Build
14:13directly on the mutual disclosures with
14:15a scene in which the love interest helps
14:17the protagonist take a concrete step
14:19towards healing the specific wound she
14:21revealed. And then chapter 31 is the
14:23shrinking bubble. The outside world
14:25begins to intrude on the insulated
14:26sanctuary with the secret or casual
14:28status of the relationship creating
14:30mounting tension. Stage a series of
14:32close calls with discovery uh comedic
14:35near misses or anxietyinducing
14:36inferences that demonstrate the
14:38concealment cannot hold much longer.
14:40Introduce or escalate pressure around
14:42the impending end date of the
14:44arrangement. All right, so not not
14:46looking a little dangerous. Then we get
14:48the antagonist world. So, here we shift
14:50perspectives to eliminate the
14:52antagonist's environment and psychology,
14:54whether a toxic parental figure, a
14:56predatory criminal, or a manipulative
14:58rival. Chapter 33 is the claiming, a
15:01moment of public or semi-public exposure
15:03forces the relationship out of secrecy,
15:05or the love interest takes a decisive
15:06action that stakes a claim and confronts
15:08the secondary antagonist or rival
15:10directly. So, this is essentially where
15:12the the love interest says, "No, like
15:15this uh this is a thing right now."
15:18Chapter 34 is the last good moment.
15:20Stack multiple life triumphs into a
15:22sustained emotional high, a professional
15:23milestone, a found family celebration, a
15:25formal claiming of the arrangement, an
15:27intimate peak, etc. And then 35, we get
15:30the backstory detonation. Deliver the
15:32most complete revelation of the love
15:34interest traumatic origin or the full
15:36scope of the external threat,
15:37recontextualizing the entire story to
15:39date. Use a flashback, a confessional
15:41disclosure, or a third party account to
15:43lay bear exactly what broke the love
15:44interest. So, we're digging deeper into
15:46that. That leads directly into the
15:48second pinch point. Another pretty
15:50universal plot point here. The
15:52antagonist discovers their leverage and
15:54executes a calculated attack on their
15:56relationship. This could be a methodical
15:58ultimatum, a targeted threat against
16:00someone the protagonist loves, or a
16:02manipulation designed to exploit the
16:03protagonist's deepest insecurity that
16:05leads to a trigger, an external crisis
16:07erupts, a moment of danger, a triggered
16:09trauma response, or a confrontation with
16:12the antagonist that forces one or both
16:14characters into their worst, most
16:15defensive behavior. This is kind of
16:17where things are getting out of control
16:19and of course that leads to the all is
16:20lost moment where the relationship
16:22ruptures fully though the protagonist
16:24false sacrifice breakup to protect the
16:26love interest the love interest's
16:28griefdriven cruelty and withdrawal or a
16:30maliciously terminated arrangement. So
16:32essentially they break up for whatever
16:35reason uh although they're not too happy
16:38about it deep down and that leads to
16:40chapter 30 39 the antagonist reckoning.
16:43resolve the antagonist arc through a
16:45confrontation that removes them
16:46permanently from the narrative, whatever
16:47that might be. So that's kind of our uh
16:50our first climax there. Then we get the
16:52hollow victory where the protagonist
16:54achieves a significant be story or
16:56personal victory, the dream realized,
16:58the milestone reached, the recognition
17:00earned, but it feels entirely hollow
17:01without the love interest. Chapter 41 is
17:04the love interest's rock bottom. shift
17:06to the love interest in the aftermath of
17:07the rupture, showing him at his most
17:09emotionally destroyed, isolated, drunk,
17:12or unable to function, confronting the
17:13full weight of what he has done or or
17:15what he's lost or done. So, he's not
17:17doing well. There might be one character
17:19attempts to repair the situation through
17:21their old insufficient methods like the
17:22love interest pursuing through
17:23explanation, persistence, or grand but
17:25empty gestures, or the protagonist
17:27maintaining the fiction of the false
17:28sacrifice. But in chapter 43, we get the
17:30pep talk. The found family or a mentor
17:33figure intervenes aggressively. So
17:35there's like an intervention here.
17:36Delivers the truth or the perspective
17:38the suffering character most needs to
17:39move toward resolution. Chapter 44 is
17:42the decisive action. The transformed
17:43character takes a decisive concrete
17:45action that proves that they have begun
17:47to overcome their core flaw. That leads
17:49to a grand gesture. Deliver the romantic
17:51climax through a grand gesture that
17:53actively proves behavioral change rather
17:55than merely professing love. Cuz they've
17:57professed a lot of love throughout the
17:59whole book. This has to be showing not
18:01telling, right? A public confession that
18:02inverts the character's opening
18:04position. a meaningful act exe executed
18:06on the other's behalf or a discovery of
18:08accumulated proof of devotion that
18:09bypasses the wounds character's
18:11defenses. Chapter 46 is the reunion. The
18:13characters fully reconcile moving
18:15through a confession to honest
18:17declaration as the final truths are
18:18spoken. Chapter 47 is the new
18:20foundation. In the immediate aftermath
18:21of reconciliation, the characters
18:23establish their new authentic
18:24equilibrium, navigating the practical
18:26realities of building a relationship
18:28without deals, rules, or secrets.
18:30Resolve any lingering threads. The comic
18:32relief's allies arc. the secondary
18:33antagonist diminishment, a final
18:35reckoning with a toxic figure who's now
18:37cut off and powerless. And finally,
18:39chapter 48, the duma deliver a time jump
18:43epilog weeks or months later that shows
18:45the full payoff of the story's emotional
18:47and thematic work with both characters
18:49integrated into community, family, and
18:51authentic daily life. So things are
18:53finally looking up and we have our
18:55happily ever after, which by the way,
18:56this wasn't mentioned in the tropes, I
18:58think, because it's obvious, but happily
19:00ever after is absolutely a requirement
19:03for this and most romance genres. If it
19:07doesn't happen, then you're actually not
19:08writing romance. You're writing like
19:09women's fiction or some other genre. All
19:11right, so that is the full plot
19:13breakdown. Uh let's just quickly go
19:15through some of the other things that
19:16are in this guide. Uh I like to go
19:17through the characters, uh the different
19:20character archetypes. So, we have first
19:21the reluctant protagonist. She usually
19:24isn't too happy about getting swept up
19:26in this whole thing, at least at first.
19:28There's the wounded love interest. Uh,
19:31so the usually silent, brooding type,
19:33right? You know, that's stereotypically.
19:35He's got some kind of past trauma. The
19:37alternative love interest. So, usually
19:39some kind of rival, uh, who might look
19:41on the surface to be a bit a bit of a
19:43better catch, uh, but, uh, by the end we
19:46find out that's not the case or we find
19:48out they might be better for someone
19:49else. Uh there's a matchmaking companion
19:52who likes to get the the couple
19:54together. There's an eccentric mentor of
19:56some kind and a toxic antagonist. And
20:00those are going to be your core cast of
20:01characters. You of course can have many
20:03more characters than that, but those are
20:05the core ones that you would want to to
20:07have. As far as world building goes, you
20:08know, people usually don't think of
20:10world building as applying to romance.
20:12It's more of a fantasy sci-fi thing. But
20:14I define world building as anything to
20:16do with the world that you're in. So
20:18researching the locations that your
20:20character needs to be in. Uh like
20:22understanding the town that they live
20:24in, what streets lead to where. Um
20:27what's the style, the fashion styles and
20:29stuff like that. U if your character
20:32works at a particular type of profession
20:35you need to know about that profession.
20:36You know, that's all part of world
20:37building. So we have things like your
20:38temporal setting and technological
20:40norms, which I kind of covered, and your
20:42regional culture and geographic anchors.
20:44there's some kind of domestic sanctuary
20:46uh whatever their primary home is. Uh
20:49there's a stagnant or shielded space.
20:51There's usually the generational trauma
20:53home. So this can uh deepen the
20:56emotional and psychological stakes
20:58there. Uh there can be the professional
21:00playground or industry. So like where
21:02does the person work? All of that. And
21:03the social, economic and class divide.
21:05Uh sometimes you'll see this
21:07particularly with billionaire romance
21:08that there's some kind of class divide
21:10[clears throat]
21:11uh that plays a big role in the romance.
21:14There might be a public gathering spot,
21:16the quirky and interconnected community
21:17network, a found family infrastructure,
21:20uh the intimate liinal space, the
21:22recurring relational and grief ritual.
21:25So do they have a a ritual when they're,
21:28you know, when they're experiencing
21:29their trauma? Like do they go out
21:30drinking? Do they just like go out into
21:32the woods by themselves? you know,
21:34whatever that is. And the comedic or
21:36thematic object uh rounds that out. And
21:38I have more information here about
21:40themes and uh some insights on the pros
21:44of the of the book. But that's more or
21:47less how it goes. Um so let me know in
21:49the comments if this has been useful for
21:50you. I don't know if I want to keep
21:52making these videos cuz they don't do as
21:55quite as well as some of my others, but
21:56I think for some people having this
21:59information could be super valuable. Uh,
22:01so let me know if you want me to keep
22:03doing these and I'll uh I'll certainly
22:06do at least a few more uh depending on
22:09what you guys think. But yeah, this has
22:10been Contemporary Romance. Hope that was
22:12useful for you. I'll see you in the next
22:13video.