The imperative of there being a Mr. Right pervades my novel
THE ROMANTIC IMPERATIVE.
Our heroine in THE ROMANTIC IMPERATIVE receives a scolding when her best friend says to her, “Have you never heard about the woman who meets her Mr. Right without recognizing him because her head is filled with some larger-than-life romantic vision of a knight in shining armor so she walks straight past Mr. Right and then spends the rest of her life wondering why he doesn’t show up when he already has?”
Our heroine even wrote in her diary when she was very young, "Every woman is entitled to the possibility of her Great Romance. It is her birthright."
As you know, I am an insomniac:
The insomniac may grab desperate hold of her pillow at 10 p.m.,
then wake up at midnight, and find herself, as I did last night ,
This is a charming film built on a traditional plot structure. As I watched scene after scene, I asked myself, what scene will the writer introduce next? Sure enough, Norah Ephron came through for me. She had set up a traditional conflict between store competitors Tom Hanks and Meg Ryan, pitted them increasingly at each other, and on to their big confrontation, after which Hanks and Ryan retreat to their separate lives, rethink their emotions, proceed to discard old lovers, and finally move ever closer to the point where the lovers come together.
But a traditional plot structure is not a guarantee of success. Supply & demand are needed: very very attractive personalities, humor-humor-humor, and charming scenery. That means Meg Ryan has a children’s bookstore with flowers and pumpkin, and the threat of losing her store. That also means Tom Hanks with money, power, dog, and girlfriend (Ms. Wrong), realizes Ms. Right girlfriend. Ah, gee! Guaranteed happy ending. I fell asleep.
If i write my next novel with a traditional plot structure, will it help?