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Sally tells Mark they are ¢nished. continues their a¡air. She bumps into Nick as she leaves the
She meets Nick, a new cameraman. building.
He senses something is wrong.
They go for a drink.
4. 5. 6.
Despite her problems, Sally ¢nds herself The following afternoon Sally overhears Nick Sally ¢ghts with Nick, refusing to listen to his
falling for Nick. deep in conversation with Mark. explanation.
He takes her home and stays the night. Shemistakenlybelievestheyareconspiring She resigns and walks out.
He persuades her to stand up to Mark. against her. At home, the phone rings constantly but she
ignores it.
7. 8. 9.
Job and romance prospects gone, Sally goes Nick arrives in France. Everything is wonderful. Sally is in love and
to stay with her mother in France. A studio is looking for an anchor for the plans to return to the UK and take up the new
Sophie is spiteful and Sally miserable. main news. job.
This was what he d been discussing with Then she sees Nick going into Sophie s room.
Mark, trying to persuade him to let Sally go.
10. 11. 12.
Nick denies being in Sophie s room but in the Hurt and angry, Sally returns immediately to At ¢rst, she resists his attempts to talk to her
middle of a romantic meal with Sally, Sophie the UK and throws herself into her new job. until Sophie arrives and confesses that Nick
bursts in screaming. She manages to break the hold Mark has was helping her kick her drug habit. Finally,
Nick bustles her outside and into his car and over her but she can t get over Nick. Sally realises she can trust Nick and they
they drive o¡. Then, she sees him in the studio. confess their love.
Fig. 7. Plan of obstacles to romance (based on Figure 4). Sally ends affair with Mark and falls in love with Nick. Her emotional background
prevents her from embarking on a new relationship. Finally, Nick wins her over and they achieve the requisite happy ending.
104
F I N D I N G T R U E L O V E / 105
Sally s immediate reaction when she discovers Mark and
Nick in conversation is to assume they are plotting against
her. It never occurs to her that Nick might be trying to help
her but if it did, she would thoroughly resent his interference.
Either way, he cannot win.
The next misunderstanding occurs in Frame 10, with Nick s
attention to Sophie. It is her fear of losing him to her spiteful
step-sister that prompts Sally s ill-judged behaviour. Mean-
while, it is a combination of pride and integrity on Nick s
part which governs his reactions.
Remember that, however many obstacles we throw in her
path, Sally must have overcome them by the end of the book.
DRIVING FAST CARS AND WEARING FANCY CLOTHES
Romanceandglamour gohandinhandandif youintendto
write romantic fiction, you need glamorous settings for your
stories.
Our story is set around the fast-moving background of a
television news station. However, the worlds of high fashion,
fast cars, thoroughbred horses and sporting champions also
feature heavily in this kind of novel. No one wants to read
about the love life of a garage mechanic and a secretary. Not,
that is, unless the garage mechanic designs and builds revo-
lutionary racing cars or the secretary works for a high-
powered executive of an international industrial giant.
Following high fashion
Clothes are particularly important and always set off a hero s
physique or a heroine s figure to perfection.
106 / CREATI VE WRI TI NG
Eventhe poorest heroine seemstobe ableto layher handson
at least one pure silk designer evening gown, whilst old,
worn jeans and an open-necked work shirt enhance our
hero s hard-man image as much as the cultured side of
his nature is improved by his appearance in an immaculate
tuxedo.
Keeping up with the times
In line with the glamour/power image, today s romantic her-
oine may well be in her mid to late twenties and running her
own business. She may drive a powerful car, pilot a plane, sail
a yacht or be an expert horsewoman and will not appreciate
being treated as if she s a rare and fragile flower.
ENJOYING SEX AND FOOD
The only rule relating to the inclusion of sex in a romantic
story is that it must be integral to the storyline and portrayed
within the context of a love scene. Gratuitous sex, particularly
if linked with violence, is totally unacceptable.
Practising safe sex
Some romantic writers always include explicit sex scenes,
others never do. It is entirely up to you to decide whether
or not you are comfortable writing about sex.
All sexual encounters between the hero and heroine are
immensely pleasurable and safe sex is practised. This is
all part of the caring, nurturing role which is the essence
of the true romantic hero.
Eating and drinking sensuously
Eating is almost as important as sex in a romantic story.
Meals are described in great detail and range from plain but
wholesome simple fare to delicately presented gourmet
dishes.
F I N D I N G T R U E L O V E / 107
For example, a romantic ploughman s lunch for two would
consist of a fresh, French loaf, deliciously crusty on the out-
side, the soft, white middle thicklyspread with creamy butter.
The cheese will be firm and mature, served with a generous
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