Not every writer likes to work with outlines, and that's fine. In love stories, though, an outline can help you stick to your plot without getting too swept up in romance. Outline your story before you start writing, making notes of significant events and plot points in the order in which you want them incorporated in your story. Outlines can be minimal or more fleshed out. Play around with the amount of detail to see what works best for you as you're writing. Outlines, like character sketches, are guides rather than rulebooks. Your story is allowed to progress outside of what you've outlined if that feels natural for your plot and characters. What makes it so satisfying when your lovers come together is the emotional build-up you create to that point. Build a sense of anticipation by creating natural obstacles for your lovers so that their romance is the satisfying conclusion of a long emotional journey. You don't want to introduce your lovers too soon, you don't want them to fall in love too soon, and you don't want them to be too happy together too soon. Love stories should explore a full range of emotion. Put obstacles in place that make your lovers happy, angry, sad, conflicted, jealous, etc. Lovers that find one another and stay together don't usually make for an interesting story. After you first bring your lovers together, find a reason to separate them. This not only creates drama, but it also gives your lovers space to long for one another and consider the dynamics of their relationship. Think about a book like Pride and Prejudice as an example. Elizabeth and Mr. Darcy are brought together and separated multiple times. During each encounter, their feelings change and they think of one another a little more. It's a common trap to have your lovers' climatic scene grow from a misunderstanding. You see that on TV and in movies. However, ballooning conflict due to a misunderstanding can make your characters seem irrational and overly-emotional. Instead, create real obstacles that make their future together questionable for your readers, but them bring them back together in the end. An example of a common, overused misunderstanding is one lover getting upset when they walk in on a former love interest kissing their new lover. It's dramatic and irrational to have your protagonist fume over an action their paramour couldn't control. Instead, think of an obstacle like a partner getting a job on a different continent, or one partner really wanting kids and the other not wanting them at all. These are commonly used, too, but they create a sense of real emotional conflict. Love stories are often associated with long prose and flowery writing. Don't be afraid to use a lyrical writing style. However, too many metaphors, symbols, and other literary devices can make a story wordy and difficult to follow. Use literary devices when they enhance your reader's understanding of emotions or events in the story. Don't feel pressured to put them in to make your writing sound more romantic, though. It is important to keep the content of your story plausible. For example, "He missed his love like the shore misses the gentle lap of the sea foam as the tides go out," is a romantic-sounding simile, but it doesn't offer clarity. "A sharp pain overcame his chest as his lover faded into the sunset," is familiar to your reader, since most people understand some level of chest pain. In this case, the latter is more relatable. When in doubt, ask yourself, "Will this help my readers better understand what's going on?" Regardless of whether your lovers end up together or not, offer your readers a sense of resolution at the end. Your characters should develop and grow over the course of your story in a way that sets them up to move forward, either together or alone, by your last page. For example, "When Jessie left, Jordan was filled with a sense of despair and dread that overcame her so completely she never went anywhere or did anything again," is an unsatisfying ending. Instead, make it bittersweet. When Jessie leaves, Jordan can absolutely be hurt and afraid. But she should also look out with nervous optimism about the new opportunity in front of her. Once you've written your story, go through an edit to look for unnecessary descriptors and excessive details that don't contribute to your story. Don't use flowery language just for the sake of it. Unless your adjectives and adverbs directly help your reader understand what's going on, or the emotion and intention behind an action, cut them. Don't use words without understanding their connotation. If you have a naturally fair-skinned and generally healthy character, for example, you wouldn't call them "pallid." While pallid does mean pale, it's most often used as a medical term in association with illness and poor health. Instead, "fair," "ivory," or "porcelain," would all work.
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One-sentence summary -- Outline your plot. Create a sense of anticipation. Separate your lovers after you bring them together. Make a believable climax for your lovers and bring them back together. Use literary devices sparingly. Offer a sense of resolution at the end. Edit your story to avoid overwriting.

If you're in the Southern Hemisphere, the North Star won't help you navigate. Instead, find true south using the Southern Cross constellation. This constellation is always visible in the Southern Hemisphere. The constellation is made up of 4 bright stars that form a kite shape if you trace the border around them. Outside the Southern Cross are 2 more bright stars known as the pointers. These are roughly parallel with the 2 stars in the Southern Cross that are closest together. The pointer stars are some of the brightest in the Southern Hemisphere. If you're having trouble finding the Southern Cross, locating the pointer stars is a good starting point. Two stars in the Southern Cross, Gacrux and Acrux, are the furthest apart in the constellation. Starting at the top, imagine a line extending between these 2 stars, and then continuing at the same angle outward. Hold a strong or a straight stick out in front of you to help envision a straight line. Depending on the time of year, this line may hit the ground since the constellation rotates along with Earth. The same way you drew an imaginary line from the Southern Cross, now find the midpoint between the pointers and extend a line outward. This line should intersect with the line you drew from the Southern Cross. That intersection point is true south. Use a natural landmark as a reference point. For instance, a tall tree in the distance could mark the intersection between the 2 lines, indicating where true south is. When you locate true south, it's simply a matter of turning around to find true north. Make sure you rotate exactly 180 degrees, or you'll be off-center and not facing true north.
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One-sentence summary --
Locate the Southern Cross constellation. Find the pointer stars. Draw an imaginary line down from the longest angle in the Southern Cross. Draw an imaginary line from the midpoint between the pointers. Turn around 180 degrees with your back facing south to find true north.