Well, I have found a couple problems right off the bat with my “Big Idea” project for turning chapter 11 into a Flash Fiction Vamp/Romance part of my novel Tabeth. First of all Flash Fiction is generally 1,000 words and after copying this chapter into a separate file I realized it is already over 2,000 words! wooops….. So its not FF in a technical sense, but I will carry on with the idea in mind.
Second, I did just a brief google search for romance story plots to get the idea of what to shoot for, and found that for the most part they are similar to your standard story plots. This is what I found:
1. The Setup/Hook
A scene or sequence identifying the exterior and/or interior conflict (i.e., unfulfilled desire), the “what’s wrong with this picture” implied in the protagonist’s (and/or antagonist’s) current status quo. (Mernit, 110)
2. The Meet/Inciting Incident
The inciting incident brings man and woman together and into conflict; an inventive but credible contrivance, often amusing, which in some way sets the tone for the action to come. (111)
3. The Turning Point
Traditionally occurring at the end of Act 1, a new development that raises story stakes and clearly defines the protagonist’s goal; most successful when it sets man and woman at cross-purposes and/or their inner emotions at odds with the goal. (112)
4. The Midpoint/Raising the Stakes
A situation that irrevocably binds the protagonist with the antagonist (often while tweaking sexual tensions) and has further implications for the outcome of the relationship. (113)
5. Swivel: Second Turning Point
Traditionally occurring at the end of Act 2, stakes reach their highest point as the romantic relationship’s importance jeopardizes the protagonist’s chance to succeed at his/her state goal—or vice versa—and his/her goal shifts. (115)
6. The Dark Moment/Crisis
Wherein the consequences of the swivel decision yield disaster; generally, the humaliating scene where private motivations are revealed, and either the relationship and/or the protagonist’s goal is seemingly lost forever. (115)
7. Joyful Defeat/Resolution
A reconciliation that reaffirms the primal importance of the relationship; usually a happy ending that implies marriage or a serious commitment, often at the cost of some personal sacrifice to the protagonist. (116)
I got this list from this blog: http://kayedacus.com/2008/04/28/writing-the-romance-novel-the-seven-story-beats/
Who got it from this book: Writing the Romantic Comedy by Billy Mernit
With this in mind I realized I need to set up this scene better in order to pull it off convincingly. Kris needs to metaphorically “descend” as he physically descends before meeting Tabeth. Also, I have to make it take longer so Tabeth has time to become what he ultimately finds. Soooooo more revision needs to be done on the chapters before this one to make it into the perfect romantic moment.
So… I will start out today by working on Kris; his unfulfilled desire, his goal that will be made into his personal conflict “ it sets man and woman at cross-purposes and/or their inner emotions at odds with the goal“.
And off to begin!