This is for a straight romance story (no fantastical elements added. yet).
Who are the main characters?

A hero (superior to reader) or an average joe (equal to the reader). Both the hero and heroine need to be the same type in order for them to be equal (even if they don’t think they are equal at first).

What do they want?

Why do they want it? (attitudes, beliefs, fears)

Why can’t they have it? (oppositions)

What happens if they can’t get it? The dreadful alternative if the characters can’t get their goal, and what is the character prepared to do in order to achieve the goal? What are the emotional stakes for not achieving or achieving the goal?

What happens in the end and how to do they get there? Character transformation based on internal issues (healing, learning, epiphany of wrong acting) leads to goal achievement – it makes the character worthy to reach the goal. So, what makes or will make this character worthy to have that goal?

Steps to take to achieve their desires:

PLOT:

The hero must give in or resist temptation in order to win love
What is the cost of giving into temptation? Define the inner struggle raging inside the character. Is it guilt? If so, how does the guilt show itself in the behavior and actions of your character? Is it anger (the character is angry at himself for giving in)? How does that anger express itself? The result of all the turmoil will be a realization about himself. He will reach a conclusion about giving in to temptation. What is the lesson learned? How has your character matured?

This plot examines the motives, needs, and impulses of the main character. The character should move from a lower moral plane (giving in to temptation) to a higher moral plane as a result of learning the harsh lessons of giving in.

The conflict should be interior and have exterior manifestations. It should be a result of knowing what he should do, and then not doing it.

The first dramatic phase should establish the nature of the protagonist first, followed by the antagonist (heroine?) Then introduce the nature of the temptation, establish its effect on the protagonist, and show how the protagonist struggles over his decision.

The protagonist then gives in to the temptation – and has some short term gratification. He may rationalize his decision to yield to temptation, and go through a period of denial after yielding.

The second dramatic phase should reflect the effects of yielding to temptation. Short-term benefits sour and the negative side surfaces. The protagonist tries to find a way to escape responsibility and punishment of his act. The negative effects of his actions should reverberate with increasing intensity in the second dramatic phase.

The third dramatic phase should resolve the protagonist’s internal conflicts. The story ends with atonement, reconciliation, and forgiveness.

HERO

1) Inciting incident. Hero meets a girl he’s instantly attracted to, and she to him. HOWEVER, he’s just started dating a famous rich model. This girl (heroine) is not famous or rich.

The hero flirts with the heroine, but chooses to be with the model even though he knows that the model is not what he really wants (which is love).

2) The model proves just how horrible having everything he could possibly want except his real desire can be. And the heroine starts to see other men. The model turns into satan-bitch.

3) After giving his all to his crazy satan-bitch girlfriend, she breaks up with him for something stupid. He runs into the heroine again and they patch things up and live hea.

HEROINE

1) Inciting incident. Heroine is single (recovering from a bad marriage – where her husband cheated on her) and starting over. She meets guy she’s instantly attracted to, and he to her. They have a wonderful evening and she wants to see him again. BUT, he’s just started dating a famous rich model. He says he wants to see the heroine again, but he can’t because he’s loyal and he met the model first. The heroine is sad, but appreciates his loyalty/non-cheatingness.

2) The effects of not giving in to temptation. The heroine can’t seem to make any other dates work out – she finds herself constantly comparing them to the hero. She finds other outlets for her time and works on rebuilding her life. She meets a nice guy and takes things slowly, not wanting to fall for the new guy like she instantly fell for the hero. There is something wrong with the new guy that the heroine can’t see (he’s a cheater).

3) She catches the new guy cheating on her and she walks away without a backward glance, glad she didn’t get too emotionally involved or sucked into his life. (She makes the right decision and is rewarded) She meets the hero again, and things work out. HEA.

———–
“Why are things always in the last place you look for them?”
“I don’t know. Why?”
“Because you stop looking when you find them.”

“Satisficing = satisfying and sufficing. When in a hurry and faced with a choice, we chose the first reasonable option. So, are you satisficed?”
We don’t figure out how things work, we muddle through them. Especially if we are in a hurry.

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