In Greek tragedy, the terrible events that unfold have their source in some wrongful action of the protagonist. The sense that ‘if only I had taken this action or avoided that one’ haunts literature still, perhaps because it haunts our lives.
Today, I’m thinking about consequences in romance. To me, the suffering is even more tragic if they in some way could have avoided it by being more careful or more kind. Do you have such a moment in your stories? A thoughtless, impulsive, or even cruel action that results in some learning experience for your hero or heroine? Share either the mistake or the consequences in the comments.
Mine is from Unkept Promises. Captain Julius Redepenning has been a careless man, and is about to meet an ex-lover in the presence of his wife and his children by his mistress. The meeting is both a consequence of previous actions and a trigger for further consequences.
Jules and Dan retreated to one corner of the room to stand over their packages, sending Fortune back to the house for the buggy.
It was there Gerta van Klief found Jules, mincing over using her parasol as a walking stick, and standing far too close. When had he discovered a preference for small slender ladies, who kept their charms discreetly covered, thus letting his imagination supply what his senses could not provide? He had been celibate for far too long, but Gerta did not set his pulse pounding the way it did at one glance from his wife.
“Why, Captain,” Gerta hummed, the musical tones that had once intrigued him now sounding forced and artificial. “I did not expect to see you here. Are you planning presents, perhaps?”
She tipped her head coyly to one side and smiled sweetly, an expression at odds with her calculating eyes. What had he ever seen in her?
“Mrs van Klief. I was not aware you intended to travel to Cape Town.”
She laughed, another practiced and false sound. “That doesn’t sound at all welcoming, dear Captain.” She walked her fingers up his chest and dropped her voice half an octave. “Let us find somewhere more private to… chat, Captain.” Her whole demeanour changed as she half turned to address a glowering Dan. “Boy! Watch your master’s packages. And be sure not to lose anything.” She dropped her voice to a purr again. “You must count your packages before we leave, dear Captain, so the boy here doesn’t sell some of them.”
Jules’s distaste turned to active dislike. They’d had an off again—on again affair for three years, and the woman still didn’t know the first thing about him. Mia’s disgust at his fornicating was well deserved.
“Good day, Mrs Van Klief. I am not free for a… chat. My son and I are attending our ladies.”
Before she could voice the spite he could see forming in her eyes, they were interrupted by his daughters, converging to take a hand each. Hannah and Mia then passed the widow, one on each side, turning to flank the girls.
“ But Jules, darling, you are here with your family,” Gerta crowed with every evidence of delight. “Aren’t they charming?” She narrowed her eyes at Mia, elegant in London fashions that made every other lady in the room appear poorly dressed. “But you didn’t tell me you had an English daughter, Jules. Do introduce us.”
Mia’s smile managed to be both gracious and feral. “Yes. Do present your acquaintance, dear Captain.” In the last two words, she reproduced Gerta’s tone and accent precisely, showing she had heard more of the conversation than was comfortable.
“The woman is of no account, Mrs Redepenning,” Jules replied. “Have you finished your shopping?”
Gerta flushed scarlet at the rude dismissal.
After one swift look of compassion, Mia answered Jules. “Not quite, Captain. Our daughters need your arbitration. They both want the same ribbons, and they insist only you can make the decision.”
“Please, Papa,” Ada begged, and on the other side, Marsha echoed the plea.
“How dare you?” Gerta’s loud voice silenced the room, as people craned to see what was going on. “After all we have been to one another? How can you treat me like this, Jules. I have given you…”
Mia interrupted before Jules could blister the infernal woman. “A word of advice, Mrs van Klief. In British society — and the Cape colony has become British — a woman of breeding does not confront her lover in public, and certainly not in front of his wife and children.” Her own voice was pitched to reach the avid onlookers. At some level beyond his anger and his embarrassment, he admired her strategy.
“It is a matter of self-protection,” she explained, kindly. “However unfair it might be, going public with revelations about irregular relationships always leads to more censure for the woman than for the man.” She dropped her voice, but not enough to prevent the audience from hearing every crisp word. “Believe me, I understand why you feel bereaved, but you must have known your lover was a married man, Mrs van Klief. Your arrangement was never going to last.”
Was Gerta bereaved? Jules looked at her sharply. It had just been about the physical encounter, had it not? For both of them? And, for Gerta, the value of his gifts, of course. Her husband had left her with little, and the presents of her lovers made up the shortfall between gentile poverty and comfortable living.
But the widow met his eyes, her own bleak.
“Goodbye, Mrs van Klief,” he said firmly, unwilling to give her any reason to think he might soften.
She looked from him to Mia and back again, and seemed to wilt. Without another word, she turned and walked away, beckoning as she left to a coloured maid who had been standing by the door and who hurried to followed.
*it finally worked… here’s my original comment*
Very nice excerpt. Dealing with consequences, large and small, IS my wheelhouse. the main influence of the romances I read for decades is that there will be a happy ending and there usually is at least one relationship that ends happy. The jealous hero from my first story had to deal with the consequences of turning traitor and bugging out on a climax that left the heroine missing and not among the living. He had to work with his rival and have faith where he had none. (and yes the second story was a wedding that featured more consequences) Another hero’s mistake was to play unrequited far too long, and confess right before battle when there was NO time.
More recently, my one lead is learning that demanding change, means you will be drafted for the heavy load to guide and enact it. Great change is not free. Another learned that something that looks too good to be true, is. Always. (along with not to make deals with devils). Another senior citizen one is looking uphill at an impossible goal after genocide level bad choices.
Actually a majority of my leads are dealing with life and death consequences of earlier mistakes or events. They are not as strongly bound to a location or even society, more their own moral standards. So romantic is back seat or even just hinted in many shorter pieces.
(Your posting did confuse me a little ‘presence of his wife and his children by his mistress.’ I did not know until halfway through the excerpt if the kids were the wife’s or the misstress’ when in the middle…)
I’ve just spent four days at a Writers’ Conference, and that’s one of take homes. Consequences come out of actions. Plot comes out of actions plus consequences.