Rejection

[Kantarii]

I just re-watched the first part of Millennium Trilogy, The Girl with the Dragon Tattoo (the Swedish film) and had to think of this thread. In the end, it shows Lisbeth Salander, waiting for Mikael Blomkvist, who, unaware of Lisbeth's waiting, instead walks away with Erika Berger, his business partner.
If I remember correctly, in the book, Lisbeth had bought a present for Mikael, which she throws away after seeing him with Erika. It doesn't mean the end of their relationship, even though (if I remember correctly) it is the end of their sexual relationship.

A story I recently read on Lit is Moira by LaRascasse. It is part of a larger story but can be read as a stand-alone. I am not going to provide details, but I think it is a good example where rejection, and even deception and betrayal, works out well.

Would you believe I own that movie, too? Kant

 

[Kantarii]

In my Unlikely Angels series (since removed from Lit), the first seven chapters ended with a mis-understanding and a rejection. It was very difficult to write. I posted those seven chapters with the intent that it would serve as the ending, although I already had another five chapters written.

The readers who loved the story up to that point absolutely hated that ending. I could hear the gnashing of teeth and the rending of garments from all the way out here in the desert.

I wouldn't do it again as an ending. I eventually published twenty one chapters, so the rejection became a dramatic interlude and it served well that way -- but not as an ending.

Sorry, I had to come back to read your comment because of it’s relevance to my storyline “Best Friends Forever”. I can see how ending a storyline on rejection would be bad. Really, I can. At this point in the story I think the “rejection” serves its purpose and lays a foundation for what eventually follows. Granted, in the end, there is no misunderstanding, but rather an understanding that causes us to break things off between us. That aspect isn’t as painful and won’t be to write either.

It’s funny how a portion of a chapter is so - so difficult to write and is a definining moment. I think, much like you, this aspect of rejection will serve similar functions as a dramatic interlude of sorts.
Kant

 

[yukonnights]

Sorry, I had to come back to read your comment because of it’s relevance to my storyline “Best Friends Forever”. I can see how ending a storyline on rejection would be bad. Really, I can. At this point in the story I think the “rejection” serves its purpose and lays a foundation for what eventually follows. Granted, in the end, there is no misunderstanding, but rather an understanding that causes us to break things off between us. That aspect isn’t as painful and won’t be to write either.

It’s funny how a portion of a chapter is so - so difficult to write and is a definining moment. I think, much like you, this aspect of rejection will serve similar functions as a dramatic interlude of sorts.
Kant

I can relate to this, however not in such a personal way as your story is doing. Last night I was finally down to the crisis point in the story I've been writing. It's an absolutely required set-up for things to continue to the proper ending. I'm clearly far too into "feel good" scenes, because when I got there I just kept on going with the tender loving care the two had grown into...duh! Had to delete all that and now I'm having a hard time making her an angry bitch

 

[NotWise]

It’s funny how a portion of a chapter is so - so difficult to write and is a definining moment. I think, much like you, this aspect of rejection will serve similar functions as a dramatic interlude of sorts.
Kant

It seems to me like those defining moments should be hard to write. Otherwise, you're probably defining something that's far too simple.

I think down endings can work, but not the way I did it in Unlikely Angels. Things need to be foreshadowed so the reader isn't slapped in the face, and it helps when there's something good in the outcome.

In my more recent ghost story "Love is Enough," the male character (TJ) is rejected by the two ghosts he's fallen in love with. The girls decide that their relationship would ultimately ruin TJ's life -- a possibility they've already talked about -- so they suffer to give him a life without them. The hopefully redeeming end follows after that.

"Love is Enough" is an unabashed love story, but I didn't put it in Romance partly because of that ending.

 

[Kantarii]

I can relate to this, however not in such a personal way as your story is doing. Last night I was finally down to the crisis point in the story I've been writing. It's an absolutely required set-up for things to continue to the proper ending. I'm clearly far too into "feel good" scenes, because when I got there I just kept on going with the tender loving care the two had grown into...duh! Had to delete all that and now I'm having a hard time making her an angry bitch

<———Not an angry bitch.

On a side note, I had planned to end the chapter on the “rejection” as a cliffhanger that I’m known to do from time to time, but I feel like it would cut my throat in front of my readers. So the chapter may be a little longer than I normally write to transition to a solution. Keep in mind, the heartache lingers based on unrealistic expectations of a relationship that isn’t possible at this point in the story.
No matter how this storyline actually ends for the reader, I’m sure they can appreciate a point in my life where I made a decision and stuck by it.Kanteven if it hurt me more than it should have.

 

[Hypoxia]

Rejection is just another storytelling tool, modeled on reality or whatever. Place it in your story wherever it works: early, often, late, or implied. Rejection as tragi-comedy, tease, farce, romantic lead-in, moral gateway, passing triviality, prelude to reconciliation, etc. A total luzer is repeatedly rejected till they gain enlightenment. A hot winner totally scores till rejection sobers and matures them. One playfully or regretfully rejects another till the time is just right. One rejects all who aren't perfect enough. And on and on.

 

[Kantarii]

It seems to me like those defining moments should be hard to write. Otherwise, you're probably defining something that's far too simple.

I think down endings can work, but not the way I did it in Unlikely Angels. Things need to be foreshadowed so the reader isn't slapped in the face, and it helps when there's something good in the outcome.

In my more recent ghost story "Love is Enough," the male character (TJ) is rejected by the two ghosts he's fallen in love with. The girls decide that their relationship would ultimately ruin TJ's life -- a possibility they've already talked about -- so they suffer to give him a life without them. The hopefully redeeming end follows after that.

"Love is Enough" is an unabashed love story, but I didn't put it in Romance partly because of that ending.

Strangely, I’m interested in reading your story, but only after I’ve finished mine.

Like you, I chose not to put this in Romance because of the “transgender” element. Plus, at the core it’s still male on male erotica. I’m sure it would stand the test of that category, just fewer readers. I think as far as category, I’m going the right route. Kant

 

[Kantarii]

I've just been to "Ralph Breaks the Internet: Wreck-It Ralph 2"

Even Disney starts telling that sometimes it's better for two characters to go separate ways...

I get the fact Lit. is an erotic site filled with fantasy. There’s nothing erotic about a rejection. It hurts, but not like the pain of finding out your partner is cheating on you. Anyway, most people in life just move on to find someone else of interest. The dynamics of my storyline plays upon something called perseverance. It’s human nature to want things we can not have. Sure, I could have given up on Brian and found someone else, but when you long to be with someone special, it makes sense to pursue the gut feelings. For me, that worked out in my favor - not always true in life, though.

Bottomline, it adds to a story - probably not in the sense of being erotic. Kudos to Disney if they’re exploring this element. Kant

 

[Hypoxia]

There’s nothing erotic about a rejection.

Sure there is -- if so written. Events leading up to and following a rejection can be erotic, as can a farewell fuck. All those events can be erotic or tragi-comic or whatever an author wants them to be. Rejection by an abuser or disease vector is a relief. Rejection can be a step to manipulation or to deeper connection. The rejected may learn about themselves as well as those who dumped them. And there's the rebound -- rejected by a fickle friend, accepted by a true love.

 

[KeithD]

This is fiction writing. The nature and elements of a rejection don't have to be considered in narrow senses. They can be springboards for expanding and exploring varied aspects/results of rejection. Rejection in my stories tend to be lessons learned and it was just as well it happened and/or the protagonist's own ultimate rejection of going off into sexual risk/danger. That doesn't mean that the rejection theme/thread of the story has to control (or preclude) erotic elements in the story.

 

[Kantarii]

Sure there is -- if so written. Events leading up to and following a rejection can be erotic, as can a farewell fuck. All those events can be erotic or tragi-comic or whatever an author wants them to be. Rejection by an abuser or disease vector is a relief. Rejection can be a step to manipulation or to deeper connection. The rejected may learn about themselves as well as those who dumped them. And there's the rebound -- rejected by a fickle friend, accepted by a true love.

Today, I have the utmost confidence in my storytelling. I’m sure my readers won’t abandon the storyline because of a setback. In my case, the rejection made me want Brian even more.

 

[blozo]

Rejection is generally unpleasant for most people, and real life is full of rejection.
I see no reason to include it in a story meant to make people feel good.
Now if I were writing a story to make people upset...

 

[Hypoxia]

Rejection is generally unpleasant for most people, and real life is full of rejection.
I see no reason to include it in a story meant to make people feel good.
Now if I were writing a story to make people upset...

As mentioned, a story lacking tension is hardly worth reading. It's missing 'drama'.

Feel-good romances usually feature much tension and conflict, followed by the romantic resolution. The ending is probably more important than how you got there, but getting there shouldn't be easy. Endure many struggles, overcome many rejections, then go for the HEA (Happy Ever After) or HFN (Happy For now) ending... or a promising cliffhanger. Their eyes lock. Their chests heave. Will they consummate in the next chapter? Stay tuned!

Try a Groundhog Day trope. The suitor is rejected repeatedly until they learn proper behavior. Finally, success! Cue the HEA music.

 

[ishtat]

In stories sad endings may not be well liked but in Music broken hearts and dastardly deeds by former/would be lovers are an absolute staple.

In this example a foreignor, moslem, female, (originally written for a man) sings a song of rejection /humiliation, in Mandarin, to a Chinese audience whose first language is mainly not Mandarin, though many understand

http://www.youtube.com/watch?v=LJiHWRJW6UI

Maybe that music enhances the message, because the connection the singer/music makes with the audience is un-mistakeable. But readers like happy - or at least hopeful endings.

 

[Hypoxia]

But readers like happy - or at least hopeful endings.

Which is why I may never write that first-person present-tense tale of a couple fucking just as the plane crashes. That POV always spells doom.

 

[Kantarii]

For those that were curious of how the chapter turned out for me, here it is.

https://www.literotica.com/s/best-friends-forever-pt-10

Kant