Romancing the Beat: Story Structure for Romance Novels (How by Gwen Hayes

By Gwen Hayes

What makes a romance novel a romance? How do you write a kissing e-book? Writing a well-structured romance isn’t similar to writing the other genre—something the preferred novel and screenwriting publications don’t deal with. The romance arc is made of its personal tale beats, and the exterior plot and subject matter must be braided to the romance arc—not the wrong way round. instructed in conversational (and usually irreverent) prose, Romancing the Beat will be learn such as you are sitting all the way down to espresso with romance editor and writer Gwen Hayes whereas she explains tale constitution. the way in which she does along with her consumers. a few of whom are average population of the hot York instances and united states this day bestseller lists. Romancing the Beat is a recipe, now not a inflexible approach. The beats don’t care in case you plot or define earlier than you write, or for those who pants your approach during the drafts and do a “beat payment” while you’re revising. Pantsers and plotters are either welcome. So sit, seize a cuppa, and let’s speak about kissing books.

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Extra resources for Romancing the Beat: Story Structure for Romance Novels (How to Write Kissing Books) (Volume 1)

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Objectives for H1 and H2 introductions: Introduce protagonist in a way that makes that character compelling. Notice I did not say likable. A character does not have to be likable. They do have to be compelling. Compelling means the reader wants to root for your heroes. Anti-heroes are often very popular and fun to read and write. Many current romance heroes are so over-the-top alpha male they are referred to as alphaholes…but some readers LOVE them. Possible ways to make a character compelling: character is best at what he or she does (we humans like successful people), character is humorous, character is suffering through undeserved misfortune (sympathetic), character is highly driven, character shows a selfless act, character loves something or someone more than themselves, character is going through something the reader can empathize with….

Again, you might have more than one scene for this or any beat. They might get progressively worse until the next beat. Retreat! Retreat! ‘80s Soundtrack for the Retreat Beat: “Harden My Heart” by Quarterflash “Should’ve Known Better” by Richard Marx EACH OF these beats has been bringing your characters two steps backward and one step forward again. Make sure your beats are tailored to their weaknesses. If she thinks all men leave, then she’s going to be watching for signs of him leaving. And she’s going to see signs that aren’t there, so she’ll be putting him on the defensive while she’s also building boundaries to protect herself from his eventual departure.

Inside the book, your characters’ inner journeys from unable to accept love to unable to stop themselves from falling in love is what clutches your readers in their own hearts. A Structure in Four Phases THREE ACTS. NO, Four Acts. No, it’s a Pyramid. No, it’s… Most storytelling is done in three acts: beginning, middle, and end. That’s why the three-act structure is something discussed a lot in structure books and blog posts. Cool. We got that out of the way. I also like to split the middle into two parts when I’m thinking about a story, whether before I write it or when I am editing a client’s book.

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