‘If there isn’t any fighting, it’s not a proper story.’ – My four-year-old son.
During my romance-editing days, I read an MS that’s stuck with me for years, although not in a good way. The conflict-packed synopsis was much as follows. (I have removed/changed all identifying details, obviously, while reproducing the essence of the problem.)
Hero is a single dad with an important job. Someone is trying to sabotage his work / kill him. Heroine is a spy and dedicated career woman. Sparks fly, but she doesn’t want to settle down from her exciting life and he needs stability for his child. While she’s saving his life, can he change her mind about love?
Let’s take a look at the challenges facing our couple, and how they cope.
Is he the kind of alpha male who struggles with being protected by a woman?
No. He has no issues at all with this, being totally without gender politics issues, and a perfectly reasonable person who accepts her professional expertise.
He’s a single dad. He can’t have a relationship with someone who might get shot at any time, plus she has to win over his child.
She meets the child in ch 2. They love each other on sight. Heroine decides to abandon her career by ch 4, without difficulty. Turns out she didn’t like the job anyway.
Someone’s trying to kill the hero.
It was a hilarious misunderstanding. There was no threat to his life or safety.
Etc. The synopsis methodically set up a row of problems, which the narrative defused as soon as each came up. It was enragingly pointless. The author basically couldn’t bear to have bad things happen to the characters. Without which, there is no suspense at all, romantic or otherwise.
If there’s no stakes, there’s no story. If your characters are getting on fine, if the threat is ineffectual, if your characters’ problems fall away as soon as they appear, the reader can’t take any more than a passing mild enjoyment in their success. Your characters earn the readers’ commitment and support by what they have to face and overcome, or cope with, or even just survive. Every time you take away a character’s problem (rather than making them deal with it) you weaken your book.
And it is very easy to do, even when you don’t realise that’s what you’re doing. In my thriller Non-Stop Till Tokyo (coming out with Samhain next year), the heroine Kerry’s best friend Noriko has been attacked and left for dead by yakuza gangsters. She is in hospital with brain damage and can’t be moved, so the yakuza use threats to her as a lever against Kerry, thus forcing our heroine into an impossible position – a helpless lone young woman against a mob. (Although she’s not entirely helpless, of course…)
About 2/3 of the way through the first draft – and I am embarrassed to type this – you know what I did?
I killed Noriko. I went for the big dramatic scene of Kerry’s grief and swearing steely revenge etc, not noticing that I had just taken away one of the main pillars of the plot and there was now no reason for Kerry not to run away from the yakuza and the rest of her troubles. Unsurprisingly, my story’s tension and credibility melted like ice cream in a toddler’s hand. Once this was pointed out by a wiser head than mine, I resurrected Noriko, Kerry’s problems increased exponentially, and the tensions and rhythms of the story, and consequent reader involvement, fell right back into place.
Don’t take away your characters’ problems. They might thank you, but your reader won’t.