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No romance reader wants to read about how the plucky heroine met the strong, sexy hero and they realized they were right for each other and everything was awesome once they got rid of those pesky cattle rustlers. And what keeps the reader turning pages is wondering how on earth you’re going to get them to overcome that obstacle and reach the happily ever after.That might make an interesting story, but it is not a romance. Use these three key questions to achieve just that.A conflict, however believable, is not successful if it does not end in a way that satisfies the reader.
As a romance acquisitions editor, I find that one of the biggest problems writers struggle with is creating a believable conflict, or series of conflicts, that will sustain the novel its entire length.
Conflict is the core of any work of fiction—it’s what makes your readers care what will happen next.
Hank must learn to trust again in order to feel connectedness, and perhaps he realizes that despite their conflict, Greta has never lied to him or let him down, and so he learns to trust her. However, she does if the bet is the external manifestation of something hugely important to the character—for example, proving that she is not a failure.
When they fall in love and realize they can both get what they want, they open the Main Street Hobby and Quilt Shop. Suppose Lou Ann’s awful ex-boyfriend says, “I bet you $20 you can’t get a job by the end of summer,” and she takes that challenge. In romance, when you have two main characters trying to reach their goals, their competing goals must be of similar importance.
She’ll be able to share all that’s wonderful about quilts—especially the love that goes into them—plus, owning her own business will help her feel more secure, because she’ll be in charge of her own career.
Character Contributes To Conflict In A Story Essay
She can already imagine her cozy future, surrounded by things her grandmother once loved so deeply.
In romance, everyone already knows how the book is going to end (happily ever after), so there is no tension over the outcome; the tension (and the page turning) must come from some other source.
At least some part of the conflict must be between the hero and the heroine.
Suppose Greta has always loved her grandmother’s quilts, which remind her of her grandmother’s house, the only place she ever felt safe and loved.
She has the internal goal, perhaps never explicitly stated, but certainly implied, of finding a way to feel safe and loved again.