Romance isn't the biggest focus in an adventure: I am an avid shipper; I won't deny it, and most of the stories I read are because of a specific ship, but when the author gives more focus to the romance than the progress of the story and the development of the characters, it becomes annoying. For example, in Pokemon fics where they pair Ash with Serena, called Amourshipping; maybe because Kalos was based on France and Serena had an all too obvious crush on Ash, but everyone makes them all lovey-dovey at the cost of the story. They focus less on Ash and everyone training their Pokemon and travelling and more on Serena and Ash falling even deeper in love. You sickos, unless you change their ages, THEY ARE 10 YEARS OLD! That aside, if you have multiple characters in your main cast, be aware if you're spending too much time focussing on one or two characters versus the others. Unless you're into that stuff, no one wants to constantly read about how "so-and-so" is sucking face with "so-and-so" every third paragraph.

Believable love connection: I know what I just said above, but I also said that I do enjoy romance when it's done correctly. And it's one of the hardest things to do. Most of the stuff we do on this site is because we think Character A should be with Character B because we think they belong together, and they either aren't together in canon or they are but we don't like how they got together. And there's nothing wrong with wanting to see them couple up, but you have to flesh it out and show it through the story and their experiences why they belong together. You can't just say "I think they should be together because I said so." That's a childish and frankly lazy argument for putting them together. You have to describe why "A" fell for "B". Did they find them charming? Funny? Cute? Cool? Did they save them from something and immediately fall for them, or was it a slow and gradual attraction? Did someone deny their feelings for their love interest's sake? Was somebody too dense to notice the feelings so the second person had to practically spell it out for them? These are just a few of the ways to describe a romantic partnership. You also should try and avoid making the two characters seem OOC as much as possible. If it's hinted that Character B likes Character A, but isn't explicitly stated, then don't have them show up years later being completely head over heels for A. While it can happen, it's not common for that to occur in real life.

Story flow: This is something that you feel when you're reading; it's where the progress of the story seems to just roll like a boat on the sea. Sometimes it's calm, other times it's a little rocky, and the climax can be either a lasting storm or a devastating hurricane, where it's crazy for a while, then it hits the eye where it's still for a bit before throwing you right back into the fray. Stories that read with a smooth flow often have few to no grammar errors, are descriptive without being overly so, are spaced well so that it doesn't feel like one big paragraph, and should make you want to keep going so much that you lose track of time. Bad flows have poor spelling, choppy writing, and seem to run on forever. You can almost feel it when you're reading a story with a bad flow. It's like driving from a freshly paved road to a gravel driveway; it disrupts the flow of the story. If you have to stop and go back to look something over to make sure that you read it correctly multiple times, it might have a bad flow. A trick to see how your story flows and sounds is to put the passage in Google Translate and have it read it aloud. You can usually hear it when something isn't right.

Descriptive, but not repetitive: A common pitfall of writers is to overly describe a scene. We want to make sure our readers don't miss anything, so we describe things down to the last fingernail... clipping. This can often lead to skimming, where the reader becomes accustomed to jumping over large passages of text until they find one of these because they think it means that now the action is back, but instead they just jumped over a week in the story! When it's time to edit your work, either have a friend who you know is good at it look it over, a beta who can look it over, or read it aloud. If you hear yourself repeatedly describing the same scene, consider using a synonym for one of the repeated words, or even try restructuring the sentence. Sometimes what you've written so far is less of a finished product and more of an idea or prompt you that you want to try. And always remember: Show the scene, tell the dialogue. The readers don't need to know the tree was exactly thirty-eight inches from the swimming hole the character was in; instead, show them how the willow tree branches tickled her back as she floated across the pond.