Inspired Romance
by Gail Gaymer Martin

Scenes and Sequels in Romance

If you're a writer, you know about scenes. They divide chapters and are periods of time in the plot experienced through one character's POV (point of view). Scenes are filled with action and conflict that move the story forward by presenting something that happens to make a difference in the characters' lives.

But what is a sequel? It is that transitional time when the non-POV character affected by the previous scene has time to internalize his reaction to the action and conflict. It's a time of contemplation to ponder choices and to make a decision. In Christian romance, the sequel is often the key moment when readers learn the internal motivation and conflicts that drive a character forward to choose a path and allows them to understand why that path was chosen.

Romance is a story of two people, the hero and heroine, and how they deal with the conflicts and issues holding them back from a loving, committed relationship. When readers experience a scene through the heroine's eyes, they don't know what is going on in the hero's mind. Without that information, readers don't understand why he is reacting the way he does, and not knowing his motivation can limit reader empathy.

Empathy—understanding and identifying the way the character feels—is the key to keeping the reader grounded in your characters and hooking to the story because they care about what happens to the characters. When a scene ends in the heroine's POV, readers are often left hanging without understanding the hero's motivation for his reaction. They want to know how the hero feels about what happened. What are his unspoken concerns? How will the action/reaction of that scene affect the hero and heroine's relationship? This information is not always available in dialogue, especially if the character's reaction is based on a secret or deep-seeded problem.

Dwight Swain, author of Techniques of the Selling Novel, defines sequel as having three functions: to translate a problem or disaster into a goal (making decisions), to focus on reality (reasoning what makes sense for him), and to control the tempo or pace of a novel. Controlling tempo adds variety to the novel. The sequel is more contemplative and less active. In romantic suspense, it is the time when the hero and heroine review clues and discuss possibilities. It's a time that draws them closer together and can affect their romantic relationship either in a positive or negative way, depending on the story line.

A sequel provides answers to readers. Usually through introspection, the sequel provides a deeper look at the character's motivation and goals, which may also add to the growing conflict. Each sequel has a pattern. First the character ponders how and why he reacted as he did to the problem, information, or conflict in the previous scene. Then, the character mulls over his options with this situation. Finally, he chooses an option whether to walk away from the situation, fight to make it work for him, or give it time to see what will happen next.

In this scene from my Heartsong Presents novel, And Baby Makes Five, an October 2007 release, the hero, Chad Garrison witnesses one of his migrant workers, a pregnant widow, in labor in his field. He takes her to a clinic, and later when Felisa and her infant son, Nate, cannot find a place to live, Chad, a widower with twin daughters, hires her to work in his home.

In this scene, in Felisa's POV, Chad brings her to his home, and readers observe her gratitude and amazement when she sees her new residence. Chad has even provided a crib that he told her had belonged to one of his children. Felisa assumes the crib belonged to one of Chad's twins. This scene establishes Felisa's characterization and reveals her emotion. When Chad exits her quarters and steps outside the POV changes, and in the sequel, we experience Chad's emotion.

Chad stepped outside and sucked in a lengthy breath. That had been more difficult than he thought. He'd asked Juanita to bring in the crib. It had been purchased for his new baby but never used. Sorrow rippled through him. He'd been unable to give it away, and now he realized the reason why. It had found a worthwhile purpose. Felisa's glowing smile filled his thoughts. The Bible said to show compassion and to help others, but he realized today he was receiving more than he'd given. The smile and joy on her face paid far more than the cost of the crib or the salary he would pay her for her work.

In this paragraph of introspection, Chad ponders his reaction to giving Felisa the crib meant for the son he lost during his wife's childbirth complication that also took her life. Chad ponders his deep sorrow over the death of his child and wife and recognizes that Felisa's smile and her joy uplifts him. As he studies his reaction, he weighs his emotion. He sees the transference of feelings as the loss of his wife and son provides a catalyst for his relationship with Felisa.

In a scene later the same day, the predicament grows when Chad becomes aware of his dilemma—his growing feelings for Felisa and her child as he watches her head toward her quarters to tend the baby.

Chad watched her hurry away, her slender frame vanishing around the corner, her dark hair falling in kinky waves below her shoulders. He felt his pulse react to the attractive woman, and it startled him. He needed to be careful. Juanita was a motherly figure and the nanny was an ornery woman who he'd thought had good skills with children, but Felisa was lithesome and lovely. Much time had passed since a woman had entered his thoughts. Now one had, and she didn't fit into his world. Yet, his emotions didn't seem to care.

Chad realizes that he's drawn to this woman, a Hispanic migrant worker who does not fit into this affluent world. The dilemma is established. How would she fit into his social life? Is he drawn to Felisa or her child? Chad will question his motivation and goals, and he does in these lines from another sequel.

She'd stirred the love he'd felt for his wife and for his stillborn child as he watched her with her own son. The tiny bundle of life aroused his paternal feelings, and he didn't know how to handle them.

Chad faces the ultimate dilemma. He's falling in love, yet he can't be certain if the love is memories of his deceased wife and the baby son he'd lost or true love for Felisa. Logic tells him one thing. His heart tells him another. Which road will he take—dismiss Felisa for the sake of propriety or risk heart ache and deal with scrutiny and prejudice.

Finally, Chad moves to the third step in a later sequel, he makes a choice.

His chest tightened, wanting to protect her from hurt, wanting to cushion her against rumors, wanting to warm her with his love and respect. Yet he couldn't until she understood the depth of his feelings, until she trusted him.

His love is sure. He is willing to face prejudice and scrutiny. He has made his decision.

Though introspection is contemplative rather than active, it is important to the story and in its own way, it stimulates the readers' minds, providing them with food for thought, with questions, and with the driving desire to finish the book to see how a happy ever after ending can happen.