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Is there a way I can make the love interest a part of my plot more? (1 Viewer)

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ironpony

Senior Member
For my screenplay, I want the love interest to play a bigger role in the story, especially for the ending I have planned, but I am not sure on how to make her part of it more.

The main character is a police officer, going after the villains and investigating a case. I thought maybe the villains could come after him after the first half of the plot, so maybe he then keeps her near him the whole time because he figures she will be safer with him, as he tries to track down who they are, where they are, and figure out what to do?

Or does this not make sense and he would just hide her somewhere, and thus she can't become involved in the rest of the plot, because she would logically be in hiding?

 
Maybe he wants her to hide out, but she wants to help him track down the villains. That would add an extra tension. I think you've got to think about her motivation, if you want her role more central.
 

ironpony

Senior Member
Maybe he wants her to hide out, but she wants to help him track down the villains. That would add an extra tension. I think you've got to think about her motivation, if you want her role more central.

Oh okay. Well I wanted her to be agree to help but mainly because she is concerned he is going off the deep end and see what he is up to, but so far a couple of readers, have told me this makes her look foolish, because she is only putting herself in more danger and he is allowing it to happen. So does it not work in the sense, that it makes her and him more foolish?
 

Newman

Senior Member
For my screenplay, I want the love interest to play a bigger role in the story, especially for the ending I have planned, but I am not sure on how to make her part of it more.

The main character is a police officer, going after the villains and investigating a case. I thought maybe the villains could come after him after the first half of the plot, so maybe he then keeps her near him the whole time because he figures she will be safer with him, as he tries to track down who they are, where they are, and figure out what to do?

Or does this not make sense and he would just hide her somewhere, and thus she can't become involved in the rest of the plot, because she would logically be in hiding?



Classically, the distance of the main character and love interest represents change (a ton more to it, but it'll do for a sentence), so the love interest can play a huge part; think about Kaye in Godfather (1972) - she's not with Michael all the time but think about what they represent to each other, how they both change, how it's executed etc.
 

Tettsuo

WF Veterans
For my screenplay, I want the love interest to play a bigger role in the story, especially for the ending I have planned, but I am not sure on how to make her part of it more.

The main character is a police officer, going after the villains and investigating a case. I thought maybe the villains could come after him after the first half of the plot, so maybe he then keeps her near him the whole time because he figures she will be safer with him, as he tries to track down who they are, where they are, and figure out what to do?

Or does this not make sense and he would just hide her somewhere, and thus she can't become involved in the rest of the plot, because she would logically be in hiding?


If it's not a romance novel, then a budding romance it's not all that important to the plot, save as a bit of additional motivation. But, you can always make the character a large part of the plot. Something has to hinge on her. Without the character's involvement, the main character won't be able to succeed. Maybe give her special skill that's important to figuring out or finding the villain?
 

ironpony

Senior Member
Oh well the main character has already found the villains by the time the climax has happened, so I am not sure she could be useful there. Mainly I want to get three parties in the same place, at the same time. The main character cop, and other cops, which he will bring, and the villains, for the climax. But the third party I want there as well is her, and this is where it gets tricky, because I want her to be there, when she would have no desire to be there, and the main character would have no desire for her to be there.

So what's the key to writing her to be there, if no character has a desire for her to be there, but you still want it to happen?
 

Terra

Senior Member
Oh well the main character has already found the villains by the time the climax has happened, so I am not sure she could be useful there. Mainly I want to get three parties in the same place, at the same time. The main character cop, and other cops, which he will bring, and the villains, for the climax. But the third party I want there as well is her, and this is where it gets tricky, because I want her to be there, when she would have no desire to be there, and the main character would have no desire for her to be there.

So what's the key to writing her to be there, if no character has a desire for her to be there, but you still want it to happen?

If there's no desire, there's no reason for romance. Perhaps by creating desire between the two characters as the story unfolds, without it consuming the plot, will lead to your already in-place ending. Is there a possibility of changing the ending, or are you firm on that? Romantic tension has its place in a non-romance story, and doesn't need to get all ewwwy gooey to let the reader know the two people have an interest in each other.

"He felt her presence in the room without even turning around" - basic and cheesy, but it tells the reader he "feels something" for her, from her, etc.
 

ironpony

Senior Member
Oh well I haven't been able to think of a better ending, and this seems to be the ending out of all the ones I thought of. It's just I want her to be there, to witness the events in the climax, but do not know how to get her there. I don't want her to hear about the events after though, without being their first hand, because I just don't think that will be dramatic.

But every idea I come up with just seems forced or makes her look foolish for putting herself in danger, or him risking her life by bringing her there, so I am trying to get her there, without making the both of them look foolish, if that's possible.
 

Turnbull

Senior Member
To be honest, I think you should let the story play out naturally and not be too concerned if love interest isn't there all of the time. Instead of pages present, maybe concern with quality -- like every time the reader sees her it's a refreshing moment where she and the MC can talk and figure things out, maybe do some character development.

There's this weird story called The Man who was Thursday, and the love interest literally only appeared at the beginning and the end. The book is called a "nightmare" by the author, and with the love interest coming at the end, it's like the MC was waking up, and all the weirdness he'd been through was over.

So, symbolism. Your story probably won't work exactly like that, but if you have the love interest here and there, it can be fine. Honestly, don't put her in harm's way just for this reason. Going to help the MC or being kidnapped by baddies are very stereotyped things at this point, and not terribly interesting inherently. If she does help, maybe have her do something that doesn't involve going up close to the bad guys. Like she finds a thing, or she happens to discover a fact that ends up being a clue. Or maybe she finds the baddies, but nopes out of there before she can put herself in danger.
 

ironpony

Senior Member
Oh okay but for the ending I wanted, I wanted the MC to feel consequences for his actions of putting her in danger, and he won't feel consequences, if she is not there though, if that makes sense? I know it's a cliche, but at the same time, I want the MC to pay the price for his actions, but not sure how to do that by putting his wife in danger, which of course has been done before, but thought it would still be dramatically effective?
 

apocalypsegal

Senior Member
If you want a certain thing to happen, then you have to have a reason for it to happen. It's your story, you decide the elements. It has to be more than the MC wanting her to be there. That's just a cop-out (HA), a cheat for the viewer. Give her some background that makes her presence a logical outcome. She could be an FBI agent, possibly disgraced for something involving the criminals. Or a forensics computer expert, with a link to something the hero needs to resolve the plot. Anything the viewer will accept and be interested in seeing how it turns out.
 

ironpony

Senior Member
Oh okay, well originally I had the idea, that she is part of the media, and she was going to use her media connections to expose the villains and incriminate them on video, once the main character was to find them and find evidence on them. However, the more I wrote it, I realized, you don't need to be part of the media, in the age, when any person can incriminate criminals by uploading the footage of the crimes to youtube. So the main character therefore, logically doesn't need her help to do that then, would he?
 

Demiel

Senior Member
This is a tricky situation, I believe for an answer we can look to the first Mad Max film.
If you have not seen it, Max seeks revenge on criminals, and then they come after him, just like in your screenplay.
In Mad Max, the villains kill his wife while she was briefly separated from him, strengthening his resolve.
If you don't wish her to die, you have two options:

a) Have her with the main character
this is fairly simple, she's with him, she helps him, she gets in his way, ect.

b) she's not with him
this is much more interesting to me. Like you said, this would seemingly make her irrelevant to the plot, but you could fix that by having the villains come after her, and maybe have her take some of them out. This way, you cut between the main character's high octane action, and her high suspense action.
Hope this helps.
 

ironpony

Senior Member
This is a tricky situation, I believe for an answer we can look to the first Mad Max film.
If you have not seen it, Max seeks revenge on criminals, and then they come after him, just like in your screenplay.
In Mad Max, the villains kill his wife while she was briefly separated from him, strengthening his resolve.
If you don't wish her to die, you have two options:

a) Have her with the main character
this is fairly simple, she's with him, she helps him, she gets in his way, ect.

b) she's not with him
this is much more interesting to me. Like you said, this would seemingly make her irrelevant to the plot, but you could fix that by having the villains come after her, and maybe have her take some of them out. This way, you cut between the main character's high octane action, and her high suspense action.
Hope this helps.

Oh okay, thanks. Yes I have seen Mad Max. Well I am considering killing her off in the climax, but if I have her live, I still want to witness some things in the climax, which is part of her arc. However, in order to have her witness those things, I need her there with the main character. But if I choose to have the villains kill her off, like similar to Mad Max, I would want the main character to see it happen though, because that will be more powerful, compared to her being killed and he finds out after, I figured. So maybe it would be even better than Mad Max, if Max for example, were to have seen her murder happen first hand in comparison?
 

Demiel

Senior Member
Oh okay, thanks. Yes I have seen Mad Max. Well I am considering killing her off in the climax, but if I have her live, I still want to witness some things in the climax, which is part of her arc. However, in order to have her witness those things, I need her there with the main character. But if I choose to have the villains kill her off, like similar to Mad Max, I would want the main character to see it happen though, because that will be more powerful, compared to her being killed and he finds out after, I figured. So maybe it would be even better than Mad Max, if Max for example, were to have seen her murder happen first hand in comparison?

There is a suspense that comes with the dread of finding out someone you love has been murdered that is absent when it happens right in front of you. This being said, do as you like.
 

ironpony

Senior Member
There is, but there are some movies where it's just not the same. For example, if Bruce Wayne found out about his parents murder after the fact, instead of being there, would that have been just as good, or better?
 

Demiel

Senior Member
If you don't see it happen, you have to imagine what happened, where as if you see what happened, you obsess over what happened. They are different, one is not better than the other. Decide which one fits your story better, and pick it.
 

ironpony

Senior Member
Oh okay, well I would like her there for the main character to see it, but I am having a hard time getting her there, without making her out to be foolish, since it's foolish to try ot put yourself in a location of danger of course.
 

JJBuchholz

Senior Member
For my screenplay, I want the love interest to play a bigger role in the story, especially for the ending I have planned, but I am not sure on how to make her part of it more.

The main character is a police officer, going after the villains and investigating a case. I thought maybe the villains could come after him after the first half of the plot, so maybe he then keeps her near him the whole time because he figures she will be safer with him, as he tries to track down who they are, where they are, and figure out what to do?

Or does this not make sense and he would just hide her somewhere, and thus she can't become involved in the rest of the plot, because she would logically be in hiding?


Why not have the love interest be a journalist for a newspaper, or a reporter at a television station that is doing her own investigating? That way, her and your MC can literally bump into each other, figure out their common goal, as well as falling in love. For an even bigger spin on it, the police officer MC gets into a jam, and his love interest helps get him out, and gets her story in the process?

-JJB
 
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