NoTalentHack
Corrupting Influence
- Joined
- Nov 7, 2022
- Posts
- 2,356
It kind of depends.So I was talking specifically about stories that model behaviour that gives useful answers to "how do I get a girlfriend"? My not-too-well-informed impression is that a lot of the LW stories with a romantic happy ending don't fit that bill. Of those I've read, there was a lot of "and then I met a hot and loyal woman who recognised the injustices I'd faced and took my side" without talking much about how the guy made himself worth having.
Is that accurate, or am I misjudging the category? You know LW much better than I do.
As pink_silk_glove pointed out, it's possible to write the "boring guy gets jumped by sexually aggressive woman" story well or poorly, BUT the vast majority of the stories like that on the site (and elsewhere) that follow that basic plot mostly don't. However, there are some good ones out there where they do attempt to write an actual story, where the characters do have some reason to act the way they do besides "lol porn."
LW is not immune to the "99% of everything is shit" rule, of course.
There are certainly plenty of ones like you described, where the guy basically doesn't change at all after his divorce, because there was never anything wrong with him in the first place, dammit! If we're honest, though, there are a lot of female-POV romance that's basically the same thing, though. "You were always a queen, you did nothing wrong, and the fact that a billionaire vampire is pursuing you is proof of that" is kind of the flipside to the dude romance version.
bruce1971 talks about this a lot in his essay LW Notes: The Redemption Arc, which I consider a must-read for anyone wanting to dip their toes into the marital drama subgenre.
The problem with the BTB/RAAC divide is that they're usually about the wife, not the main character. In the case of BTB, the main character spends hours trying to find a way to make his ex wife's life a living hell. In the case of RAAC, he spends hours trying to find a way to dig deep for forgiveness while making her love him again. In both cases, though, it's about her.
Seriously, think about it: A BTB revenge requires hours thinking about her needs and desires. What would hurt her the worst? What would destroy her world? What bizarre Mission Impossible scheme can he come up with to bring everything crashing around her ears?
And most RAAC stories aren't much better. In those, the main character is trying to figure out how he can change his personality in order to find forgiveness--while, at the same time, making his cheating spouse aware of how much she stands to lose. In both cases, he's thinking about her--her psychology, her needs, her failures, and how to adjust himself to remain married to her.
In both RAAC and BTB, the main character isn't thinking about himself. But what if he did?
In a few stories, the main character starts down this path. What can he do to heal? How can he rebuild himself to be stronger and more complete? What will the rest of his life look like--and is it something he can be happy with? How can he become the kind of person who can't be destroyed by a cheating spouse?
And that's the real story. Because, at the end of the day, the question isn't about whether you destroy the person who hurt you or learn to live with her. The question is how do you make yourself whole again. And the answer doesn't lie with a cheating spouse--in fact, the answer lies with everything BUT the cheating spouse.
He lists several great stories in the essay that are basically about this, and I can think of quite a few more, almost all of them highly rated. And I don't mean just by LW standards, but in general. Several are hall of fame stories over there. I will say that a lot of the stories in this vein are... the protagonists' actions are often not "learn how to date" (although there are some) but more "reconnect with yourself and who you were before you let yourself go." Again, another parallel with a lot of female-POV romances.
However, those type of stories require more effort on the part of the writer, which some writers either aren't able or don't want to put forth. And, just like the women reading "Harlequin Romance Mad Libs #374," the readers are more than willing to ignore the lacklustre quality of the stories to get what they wanted, i.e., "protagonist I can identify with gets what they want in a way I find comforting."