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Manual writing - Lez.1

Source: "The Romance Writer's Handbook," Rebecca Vinyard
"Writing a romance novel," Leslie Wainger

THE STRUCTURE OF ROMANCE

First, if you do not mind, we would keep in a special way not to define a romance as a "romance" because I believe that the definition is now unfortunately too inflated and denigrated.
prefer to call this kind of book "Love Stories". This definition certainly Nothing has changed in substance but also because the ear wants its share, I see it like this: talk about love story makes me think of some timeless masterpieces like "Gone With the Wind" or "Pride and Prejudice" (to name just two), while speaking of romance makes me think of bad stuff.
And believe me, so for everyone. So I begin to restore dignity to the genre by calling things by their name. After all, we speak of love stories or not?

When you are writing a historical or a contemporary, does not matter: the structure of the love story is always the same.
Why is it important not to underestimate the importance of dell'ossatura a novel? Why è ciò che c'impedisce di andare fuori strada ed è ciò che ci consente di dare al libro il giusto equilibrio.
Con questo non voglio dire che dovrete esserne schiave, ma sarà importante soprattutto in quei momenti in cui sarete così assorbite dalla storia da non rendervi conto di dove state andando.

Dunque, immaginiamo un libro della lunghezza di circa 400 pagine. Nella struttura di un romanzo d'amore possiamo evidenziare 6 momenti basilari:

1) L'incontro tra i due protagonisti (dovrebbe avvenire il prima possibile, anche se non è una regola)
2) Il primo evento che cambia il rapporto tra i due protagonisti
3) Il secondo evento che cambia il rapporto tra i due protagonisti
4) The "dark moment" in which events fall
5) The "climax" when all seems lost
6) The conclusion

These six moments are included in 3 acts. Take a sheet and divide it into three parts: Act I, Act II and Act III.

ACT I (ca 100-120 pgg): The opening scene should correspond to point 1)

ACT II (ca 180 pgg): point 2) should lie in between the first and second act

ACT III (c. 100-120 pgg): item 3) should be at the turn of the ACT II and ACT III. Points 4) and 5) are provided for half of the 'ACT III. Step 6) is the end.

Now, this is done, a good way not to miss is that acts to divide into chapters and chapters into scenes. I'm talking about a pattern, of course, within which you can play freely and make anything happen.

There are two typical cases, at this point, some writers stop at the schematic level and use the work done only as a trace, others prefer, already at this stage, write each scene and connect them to each other until the end of book.

Good job! Calypso