Romance novel OutlineLove Story Outline
Twenty key scenes for novelists
We started a debate last weekend about romantic novel structures. Whereas almost every storyline of any given style can work on the basis of the ten most important basic sequences, a whole host of variations can take place from there. Their premises and action will be the big factors when it comes to deciding what types of scene are needed to overlay the first ten.
In a novel, every sequence is extremely important and must have a very special use. Her scripts are full of nothing of character stuff that doesn't go anywhere and does nothing important (e.g. talk about the bad night weather). When you' ve been following my blogs for a while and studied my novels in The Writer's Toolbox franchise, you know that a good part of my main emphasis is on a sound scenery where every sequence becomes a pivotal element that I call the "high moment".
" Like a novel, a sequence should have a beginning, a center, a peak and an end (which may hang), but this crucial element is crucial. The 10-20-30 scale builder approach is smooth and configurable, yes. That doesn't mean you only have thirty casual moments and you're done.
You' ll need these keys in the right place, and then you'll need the next ten big shots in the right position. Simplify your own lives and don't spend your valuable energy. So..... we took a look at the twelve most important love sequences of the last weeks, which Michael Hauge proposes in every love affair, be it a novel, a movie or a theatre work.
Let's see how these scenarios could work in my 10-20-30 scale build-up texture by placing them over the first ten keys. Do you want to create a flawless sequence every single one? For a free spreadsheet, click here to join the Novel-Writing Fast Track Group! Like a few week ago I did in the next ten shifts for a sidestory tree, I'll put the numbers in BOLD so you can see where these next ten could lie in about the first ten.
NOTICE: The 12 most important love scenarios are R1, R2, R3, etc. Also remember in many novels, alternating protagonists, so you can take a shot or two in the heroine's POV, and then to the Heroess. That is, each of these keys could be two halfs-a whole sequence, but one that has a POV offset in the middle.
It' very popular with romance stories. Familiarize the main character (HEROINE) with her work. 11 - R1 - HERO introduced. That is the agreement with the first major sequence. This may not be the second part of your novel. They can have two or three sequences with your character first.
Keep in mind that we are looking for a core sequence to serve as a texture - not every one. When this happens, the protagonist is positioned for the meeting (a move to another place, an occasion, etc.). There are those who say that a lover must come together in the first sequence. I' d like to get to know them both before they're kicked together.
These can and often are moments with the heroes. In a romance novel, this aim is to achieve HEA, so this results in.... It is a pivotal sequence that brings together those in love so that they really get to know each other. I' ve often seen the turns are catastrophes (hail, tornadoes, flooding, locusts, snowstorms, etc.) that let the heroes rescue the Heroess ('my rules are that the heroe has to rescue the Heroess three heroes in my novel, the third one is the biggestgie at her height, so these three "save scenes" are in this ten-scene layer).
An important occasion that drives the history forward and strengthens the protagonist's resolve to achieve her aim. At the same epoch, the other enthusiast can see something that makes him choose that the relation won't work. It'?s clinging and fighting day. Occurrences that make this romantic view possible and give us a sense of expectation.
And then something happens to destroy the potential for a real romance. One of the parents announced at a celebration that the character will be marrying Election B, and the character finds out and thinks everything is gone (which I did in Colorado Promise). It' pushed for the last one. Remember the Ever After scenery when Prince Henry is unjustly recounted by his mum, the Queen (who was deceived by the wicked stepmother), that Danielle has abandoned France to get married to another man.
However, the last impetus is when Da Vinci opens the doors and gives her "wings to fly" into the hands of her mistress. This may be short, but this is the sequence in which they admit/recognize that they are both destined to loving each other and confessing this dear. It' a funny sequence because they still can't fully reconcile.
This is a last, concluding picture of the lucky outcome of the follow-up. It can be added to the last sequence (above) because the two plot items fuse together, or it can be seperate sequences within the last chapters. Note that R1 is mainly sequence #1, R11 sequence #9 and R112 sequence #20.
So, you generally have the twenty pivotal scenarios here, give or take one or two depend on how you want to unfold this. However, I sincerely trust you will see how I set up these first ten scenarios and put them into the required romances, so that the romance history is the motor on the spot.
There are these twenty fundamental sequences and the 12 important romance sequences recommended by Michael Hauge. I' m going to use this table next weekend to show you the pivotal moments from two of my books. I' m planning my new western right now and using this texture, so I'll be sharing with you how this works (although I hopefully will have done most of the novel when this is on!).
Do you see how this can be very useful for you when you are playing with your romanticism?