I am working on the planning stages of a fantasy novel. A big element is a romance that developes between two characters. But the way I envision the story they don't meet for a few chapters. Right now I am thinking they meet about 3 chapters in. I am looking for strengths and weaknesses to this approach. I might even consider having them meet a little later. But being as it is a critical part of the story, should I move the meeting to the first chapter. I have to establish the MC and why he meets her where he does. But I don't want him to become overpowering in the story. Any suggestions would be appreciated.
Plotting question
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If you are looking at a romance-focussed publsiher (e.g. Tor paranormal, Harlequin Luna) I would encourage having the meeting early. If you are looking at a fantasy publisher I don't think it is a big deal when the meeting occurs so long as it is plot driven.
Thanks, I see it more as a fantasy with a romance driving much of the plot. I am more familiar with the fantasy genre. I don't think I ever read a romance novel on purpose. So I would in no way be familiar with the genre.
Thanks again.
Thanks again.
silentpoet said:
There's nothing wrong with starting the romance three chapters in -- or even thirty chapters in. As long as SOMETHING is happening to keep the readers turning the pages from the first one.
Hemingway's advice
In "A Farewell to Arms," a lot of war stuff goes on before the MC even meets the love interest in the story. I think it's well beyond chapter three even, but I'm too lazy to reference to the book to check for sure. Like a lot of other things, it depends how artfully you do it. People say not to overuse "he said," and "she said," but my god, have you ever read any of Raymond Carver's short stories?
In "A Farewell to Arms," a lot of war stuff goes on before the MC even meets the love interest in the story. I think it's well beyond chapter three even, but I'm too lazy to reference to the book to check for sure. Like a lot of other things, it depends how artfully you do it. People say not to overuse "he said," and "she said," but my god, have you ever read any of Raymond Carver's short stories?
One idea would be for the main character to notice this person earlier, but not really meet. Something particular could draw his attention to her (she's incredibly beautiful and/or she's clumsy and spills something on him in a restaurant and/or she's is with a mutual friend of his and he only sees her from across the room). You could actually use it to draw the reader into the story; you could do it so that the reader knows that something is going to happen between the two but they're not sure exactly what or when. Perhaps the character goes about his business but can't stop thinking about her.
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I dont see any problem at all. Sometimes the story itself follows a pattern that, if changed, will be extremely noticeable. See if the work flows without changing what youv'e got, if it seems misplaced, then fix it.
Now, having said that, main characters should come out early. While supporting cast can come and go as they please. I'd imagine that a love interest has a big role, but chapter three dosent sound do bad.
Example.
1- main character/back story
2- set up to current plot
3- introduction of new main character that is involved in plot started in 2.
I think that worls fine, and who knows, this may be an ongoing series. So many characters from so many books came in at weird parts. I wouldn't worry a lot about it.
Now, having said that, main characters should come out early. While supporting cast can come and go as they please. I'd imagine that a love interest has a big role, but chapter three dosent sound do bad.
Example.
1- main character/back story
2- set up to current plot
3- introduction of new main character that is involved in plot started in 2.
I think that worls fine, and who knows, this may be an ongoing series. So many characters from so many books came in at weird parts. I wouldn't worry a lot about it.
Jonny Ryan Mac
That is roughly what I was thinking in terms of set up for the story. I suppose the action of the plot starts when they meet. The conflicts can have some set up, but when they meet is when the ball gets rolling. He is on the run(still working out from what, all I know is he starts out in a dungeon), she is kidnapped(why is a big part of the plot). They meet and then it goes from there.
One element I am considering in the escape from the dungeon is the intervention of a god. I don't want it to be deus-ex-machina, but it seems to fit with the character. He is a little bit of a Jonah, not wanting to do what his god says. I don't know if that is why he ends up in the dungeon or not. But one of his major motivations is avoiding what his god says to do. A very contrary dwarf. Though I am still working on the world building and such concepts as dwarf and elf may be changed quite a bit from contemporary ideas. I am trying to find the best fit for the characters involved. I know the basic story and how it begins and ends, just not alot of the details inbetween.
Thanks for all the suggestions.
That is roughly what I was thinking in terms of set up for the story. I suppose the action of the plot starts when they meet. The conflicts can have some set up, but when they meet is when the ball gets rolling. He is on the run(still working out from what, all I know is he starts out in a dungeon), she is kidnapped(why is a big part of the plot). They meet and then it goes from there.
One element I am considering in the escape from the dungeon is the intervention of a god. I don't want it to be deus-ex-machina, but it seems to fit with the character. He is a little bit of a Jonah, not wanting to do what his god says. I don't know if that is why he ends up in the dungeon or not. But one of his major motivations is avoiding what his god says to do. A very contrary dwarf. Though I am still working on the world building and such concepts as dwarf and elf may be changed quite a bit from contemporary ideas. I am trying to find the best fit for the characters involved. I know the basic story and how it begins and ends, just not alot of the details inbetween.
Thanks for all the suggestions.
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Actually, while the Tor line is indeed a romance line, the Harlequin Luna line is NOT. They are a fantasy line. It's where the books are shelved. They only want around 25% of the plot to contain romance, and the female character should be the lead (female-centric). The Luna line also requires that it be a TRUE fantasy with world building. Urban fantasy (paranormal/fantasy elements inserted into our existing reality) need not apply.
What you'll need to decide when the book is done is whether you have a fantasy romance or a romantic fantasy.
Yeah, yeah, I know what's running through your mind right now---aren't they the same thing?
Nope.
When you say it's a "critical part" of the story, does the romance solve the primary plot? IS the romance the primary plot where the GOAL of the book is to get the people together into an HEA (Happily Ever After)? If not, then you've probably got a romantic fantasy on your hands and should probably look to to Roc, DAW, Kensington or some others to be placed in a fantasy line. If the romance doesn't exceed 25% of the plot and the female character is the lead, then look to Luna. But if it's a TRUE romance, where neither the fantastical elements NOR the romance can be removed and have the other remain, then you probably have a fantasy romance, which would work for a number of romance publishers like Tor, Warner, Berkley, Dorchester, etc.
Good luck!
What you'll need to decide when the book is done is whether you have a fantasy romance or a romantic fantasy.
Yeah, yeah, I know what's running through your mind right now---aren't they the same thing?Nope.
When you say it's a "critical part" of the story, does the romance solve the primary plot? IS the romance the primary plot where the GOAL of the book is to get the people together into an HEA (Happily Ever After)? If not, then you've probably got a romantic fantasy on your hands and should probably look to to Roc, DAW, Kensington or some others to be placed in a fantasy line. If the romance doesn't exceed 25% of the plot and the female character is the lead, then look to Luna. But if it's a TRUE romance, where neither the fantastical elements NOR the romance can be removed and have the other remain, then you probably have a fantasy romance, which would work for a number of romance publishers like Tor, Warner, Berkley, Dorchester, etc.
Good luck!
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