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I will start by saying this isn’t a romance, but has your classic love triangle within the plot

The problem is, within my writing, I got in too deep with my first two characters love story, and now he just seems too perfect

I’m at the point now where I’m introducing the second guy and, quite honestly, I can’t write him. I can’t see my audience picturing him and her together the same way as I’ve written the initial couple. It’s not natural, it doesn’t make sense, but the whole plot line is that he helps her escape, and she only goes with him because she falls for him. How can she fall for him when I can’t fall for him myself, as the writer?

How do I write him in a different way to the initial Male, but good enough that the audience root for him, and not the initial companion?

Thanks

  • People fall in love with faults. Your new man can make her vulnerable and willing to show her faults. She may even be a worse person with him, but when she shows her imperfections and he shows her his and they bond over their shared secrets, your audience will be in on the secrets, too. And the reader will be just as excited about this new love. – Tallima Apr 25 at 1:40
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    Make it a physical. Maybe she doesn't 'like' him, but that's the guy she trusts in a crisis. When there's action, and no dialog, they're on the same page. Like horse and rider, not much to talk about but they feel each other. Rather than just 'rescuing' her, make it something they have to do together – in other words he takes a risk helping her escape, but it's an example of them intuiting what the other is planning. It can be something she isn't able to 'intellectualize' so maybe she doesn't quite trust it. – wetcircuit Apr 25 at 2:14
  • If he "helps her escape", why does she need to fall for him in the first place? If that's the only reason for it, do you need the love triangle at all? Maybe there's another way to accomplish the same result. – Llewellyn Apr 25 at 17:20
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First, consider how much you actually want the love triangle element. If you've managed to write a compelling, believable couple with good chemistry, you've already done better than a lot of romance writers. Does the extra relationship add more to the story than it takes away?

If so, try thinking of it in terms of satisfaction. What does your protagonist want out of a relationship that Love Interest A doesn't provide and Love Interest B can? Even if the latter relationship would be less appealing in the long term, a sufficiently strong unfulfilled desire could give her the motivation to at least try it out temporarily—especially if it's an impulse decision. Is your protagonist the type to jump headfirst into things without thinking? If so, it'll be easier to justify the switch; if not, you might need to give her some extra incentive.

No one's perfect, after all—and if they are, that's a good sign to reexamine the character. Putting desires aside, what does Love Interest A do or say that she dislikes? A recent particularly-potent bout of whatever it is could weaken her attachment at the critical moment. (Take care to have that tension build naturally over time, though, lest the break feel cheap or contrived.)

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