When the passionate brother of the bland man she is engaged to marry falls madly in love with her, a woman must decide which man is right for her.
It’s true about romance stories being mostly about the decision to either follow the heart or the head, however I firmly believe that in most good love stories a goal awaits the characters beyond the mere decision it self.
I haven’t seen Moonstruck (you’re on to me romance isn’t my genre…), is there a consequence established as a result of either choice she makes? Also is there a B story separate to the love interests?
The consequence of her decision – – and she doesn’t decide until the 3rd Act — is whether she’s going to risk finding happiness a marriage with an exciting man or settle for a safe but unhappy marriage with a dull one.
As kbfilmwork alludes to, the dilemma she finds herself in throws the whole family into crisis because (among other things) it leads to Loretta finding out about her father’s affair. So there comes a moment of reckoning, of truth not only for Loretta in terms of her true feelings, but also for her mother and father.
It seems to me that the story line for a logline for romances doesn’t always — not saying never — conform to the standard formula applicable for most other genres. For example, I would offer in exhibit of the dominance of the “B” story over any “A” story is “When Harry Met Sally”. I have seen it argued in other web precincts devoted to film structure that “When Harry Met Sally”, doesn’t have a plot, at least not a conventional plot, the kind we are supposed to hammer our stories into for the standard issue logline. And this is one of the great romantic films — I can’t argue with success. I can only try to figure out why it seems to break the rule with wonderful impunity.
To be continued when I get around to posting my version of a logline for that film. If someone else doesn’t first…