A Quote by Melissa Pritchard

Romance novels satisfy a very specific fantasy of romantic love that seems to be a powerful part of the female psyche. — © Melissa Pritchard
Romance novels satisfy a very specific fantasy of romantic love that seems to be a powerful part of the female psyche.
None of the male characters are as powerful or as interesting as the four central female characters. The men work best as representations of the current stage of a particular female’s psyche. The men function as catalysts, and are certainly important to the development of the story, but the relationships are not the goal. I do not see romance as being what’s central to the success of PRETTY LITTLE LIARS.
For readers worldwide, the attraction of romance novels seems to be that they provide hope, strength, and the assurance that happy endings are possible. Romance makes the promise that no matter how bleak things sometimes look, in the end everything will turn out right and true love will triumph -- and in an uncertain world, that's very comforting.
I really don't see anything romantic in proposing. It is very romantic to be in love. But there is nothing romantic about a definite proposal. Why, one may be accepted. One usually is, I believe. Then the excitement is all over. The very essence of romance is uncertainty. If ever I get married, I'll certainly try to forget the fact.
I want to turn my attention to movies about love relationships. Exploring the female psyche - there ought to be some interesting discoveries there. Love stories. If you do it right, people want to hear romantic dialog.
I think sex is a very minor part of most romance novels.
Some of these love stories can be destructive as examples of what it means to really love. To think that someone is your one and only, that you're fated to be with this person, is a really powerful, sexy fantasy - but it is a fantasy, at least in part.
I still read romance, and I read suspense. I read them both. And part of it is, I like stories with strong characters, and I like stories where there's closure at the end. And I like stories where there's hope. That's a kind of empowerment. I think romance novels are very empowering, and I think suspense novels are, too.
My novels are in the literature section as opposed to the romance section of bookstores because they're not romance novels. If I tried to have them published as romances, they'd be rejected. I write dramatic fiction; a further sub-genre would classify them as love stories.
And I wanted to do a movie [Moonrise Kingdom] about a childhood romance - a very powerful experience of childhood romance. About what it's like to just be blindsided, when you're in fifth grade or sixth grade, by these kinds of feelings. Along the way, I sort of mixed in some interest in "young adult fantasy" writing.
I have a very powerful sense of place, but I have a very powerful sense of being a migrant, so it's both. It seems like I'm always leaving my home. That's part of the formula. I love the Dominican Republic. I go back all the time. I love New Jersey. Go back all the time.
Romance doesn't have to be portrayed physically. I love being part of romantic films, but I wouldn't venture into something I'm not comfortable with.
I love romantic films and love drama. Any film that has romance or romantic element is my comfort.
Romance novels have the power to bring love into the lives of readers. Through the characters, we get to fall in love every time we pick up a romance novel. What could be better than that?
'Game of Thrones' is a fantasy show not dedicated to any specific time, but it seems to exist in sort of a 1400s medieval fantasy world, and in that setting, I wouldn't have had a six-pack.
Game of Thrones' is a fantasy show not dedicated to any specific time, but it seems to exist in sort of a 1400s medieval fantasy world, and in that setting, I wouldn't have had a six-pack.
Romance is very pretty in novels, but the romance of a life is always a melancholy matter. They are most happy who have no story to tell.
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