This post is a follow-up to a previous post called "Painting oneself into a corner", published 1/27/19.
Consider the difficulties of writing a two POV story, the hero and heroine. Girl meets boy in an odd or cute meet. They struggle together or apart or a little of both. They become both protagonist and antagonist. Usually there is a huge physical pull between them. There are often external antagonists to spoil their plans. They may have different plans. They may see the antagonist(s) as protagonist(s). You are writing a novel and because of the length and the need for drama you must set up various barriers to their future love.
Balance this with the way most people get together. They’re attracted, they like, they love (or they discover they’re incompatible).
If you watch a romance or romantic comedy, most of the roadblocks are easily identifiable because they come from outside influences. A good actor and actress will try to show you their inner conflicts typically with facial expressions or body language. Sometimes they address the problem with words. All this fits into a two hour movie.
Herein lies the problem for a writer. Try writing hundreds of pages of ever changing interior conflict between hero and heroine, using both viewpoints and making it seem real.
Because of this difficulty the conflict expressed in interior monologue needs tropes as understandable and believable assists:
Next week, I’ll write about how hard it is to fool the reader regarding who he or she will pick.
Consider the difficulties of writing a two POV story, the hero and heroine. Girl meets boy in an odd or cute meet. They struggle together or apart or a little of both. They become both protagonist and antagonist. Usually there is a huge physical pull between them. There are often external antagonists to spoil their plans. They may have different plans. They may see the antagonist(s) as protagonist(s). You are writing a novel and because of the length and the need for drama you must set up various barriers to their future love.
Balance this with the way most people get together. They’re attracted, they like, they love (or they discover they’re incompatible).
If you watch a romance or romantic comedy, most of the roadblocks are easily identifiable because they come from outside influences. A good actor and actress will try to show you their inner conflicts typically with facial expressions or body language. Sometimes they address the problem with words. All this fits into a two hour movie.
Herein lies the problem for a writer. Try writing hundreds of pages of ever changing interior conflict between hero and heroine, using both viewpoints and making it seem real.
Because of this difficulty the conflict expressed in interior monologue needs tropes as understandable and believable assists:
1. Not
ready for love.
2. Not
ready for marriage or fear of commitment.
3. Not
wanting marriage or kids.
4. Having
something more important to accomplish, career, school.
5. And
an infinite number of other problems that the author’s creative mind comes up
with for their special story.
Next week, I’ll write about how hard it is to fool the reader regarding who he or she will pick.
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