On Writing Romance_ How to Craft a Novel That Sells - Leigh Michaels [123]
THE SWITCH
Shortly after the black moment comes the switch, where the sorting out really starts. The switch is the point at which one of the main characters reaches deep inside himself (or herself) and dredges up enough last-minute trust—or anger, or strength—to sacrifice his pride and share his honest feelings.
The switch thus turns the situation around completely, breaking the ice so the couple can ultimately resolve their differences. It's a very emotional point, a breakthrough that will allow the pair to live happily ever after.
In her single-title chick-lit See Jane Score, Rachel Gibson shows her heroine confessing to the hero why she authored a newspaper column to embarrass him:
"I've been thinking a lot this past week, and I've realized that in every relationship with a man that I've had, I've always entered an escape hatch just in case I might get hurt. The Honey Pie column was my escape hatch. Problem was, I didn't get out fast enough." She took a deep breath and slowly let it out. "I love you, Luc. I fell in love with you, and I was so afraid that you would never love me. Instead of thinking a relationship with you was doomed to end, I should have fought to keep it together. ... It ended badly. I take the blame for that, and I'm sorry." When he didn't say anything, her heart plummeted further. There was nothing left to say except, "I was hoping we could still be friends."... "You want to be friends?" "Yes." "No."
She'd never thought one little word could hurt so much. "I don't want to be your friend, Jane."
Jane makes her confession not in the hope of changing things between her and Luc, but because it's the right thing to do. Gibson draws out the suspense as long as she can before Luc confesses the reason he doesn't want to be friends—he wants more from Jane than friendship—and the lovers go on to talk about what has happened to separate them.
This important aspect of the switch, this painful sharing—honesty with no certainty of a good result—assures the readers that the relationship is important enough to both characters that they will not treat it lightly in the future, or endanger the love they've come so close to losing.
The switch usually takes place within the last ten pages of the book, leaving just enough room for tying up all the loose ends and for the readers to wallow in the satisfaction that this pair has finally made it to a happy ending.
DECLARING LOVE
After thousands of words and hundreds of pages in which the hero and heroine have been denying their feelings for each other, or at least not admitting them to
each other, it's surprisingly difficult to make your main characters say things like "I love you" and "Will you marry me?" But it's very important in the romance novel that they actually verbalize these feelings, not leave them to the readers to assume.
Both hero and heroine must actually declare their feelings, a proposal must he made and answered, and how these things are done must fit the main characters. A hero who has joked his way through the entire story may get serious at the end, but he won't become somber—and even his most sincere proposal is likely to contain a touch of fun.
Tanya Michaels uses just such a touch of humor to finish off her romantic comedy The Maid of Dishonor.
"How do you feel about running off to Mexico to get married?"
Her heart stopped. "Are you ... Was that a proposal?"
He snapped his fingers. "Damn. That wasn't romantic at all, was it? And I can't expect you to marry a man who doesn't have his next job lined up yet. ..."
She pressed her hand firmly against his mouth. When she had his attention, she enunciated slowly, "Was that a proposal?"
He nodded and asked beneath her fingers, "What do you say to Christmas in Cancun?"
She launched herself out of her chair and into his arms. "I say si, Senor Jenner."
He pulled her to him, sealing their engagement with a hot, openmouthed kiss that left her knees trembling. Planning out the details would have to wait until later. Much later.