The Intern has suggested some new weapons of manuscript mass destruction- the Triumph Bomb and the Character Transformation Bazooka. Either of these weapons are baaaaaaaad writing, with the power to kill a story instantly and turn a potentially good romance into a throw-the-book against the wall one.
The Triumph Bomb is the happy resolution, out of the blue and occuring with no effort from the characters. The great moment of revelation where it all suddenly falls into place, the hero apologises for being a badass bastard, the misunderstandings are easily explained away. “That person you thought I was kissing was my cousin, silly, of course I love you,” or “I thought you were a whore, I never realised you were a sweet innocent virgin, only willing to sell your body to me to save the life of your beloved brother,” so they can have a passionate clinch and all live happily ever after.
Usually preceded by the Character Transformation Bazooka, where without any indication of struggle or signs of emotional growth, the hero suddenly changes completely toward the heroine. This is explained as the healing power of love causing a Road to Damascus type conversion. “The only reason I was a badass bastard was that I was struggling against my overwhelming love for you, my dearest. I just gave up the struggle, and promise I will never ever be a cold hypercritical witholding controlling misogynist ever again. Your sweet love will be all I need.” Or in the plot driven by external conflict (baaaaaaaad romance writing anyway!), the evil Other Woman says to the heroine, “I lied about him having sex with me on your engagement night. I wanted him for myself. But I see your true pure love for him and I feel ashamed. I know he loves only you. Please, let me be your best friend and a bridesmaid at your wedding.” And they all hold hands and skip off together into the sunset singing la-la la-la-la.
The reason the T-Bomb and CTB destroy the credibility of a story is they can feel so random, so unexpected. The pat resolution that easily solves all the problems that kept them apart the whole book, the unearned happy ending? They just don’t work unless we’ve shown the characters struggling, in the process of changing and growing, trying and failing. Characters need to work for their happy endings. They need to put in the emotional work to make a real loving relationship and commitment believable and achievable. One character may only see the end result of the process, making it seem like a sudden change to them; but the reader needs to be in on it, needs to know there a process of change going on somwhere, or at least the potential for change. Otherwise they just aren’t going to buy it. We have to see proof of the emotional change, not just be told there’s a change.
So, when I’m revising Luk and Emma’s story, I better watch out for the weapons of manuscript mass destruction. Am I showing them both struggling with their emotional conflicts and relationship blocks, so the ultimate surrender to love and idea these two can have a future together is believeable? Do they both grow and change enough to earn their happy ever after? And do they show proof of how they’ve changed, not just say they have?
I realise I’m half guilty of using one of these. The resolution just isn’t strong enough. We see Luk’s struggle and understand what motivates him to go back to Melusia, back to Emma, so the reader can believe it. But the bit I’ve left out is- why should she believe it? That’s what I need to work on.