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The Romance story structure, as audiences know it today, has its roots in fairy tales and archetypes. As nearly every type of story has a Romance element in it, the following types of Romance plots can also be used as subplots within a different, overarching plot structure.

Types of Romance Story Structures

In this genre of plot structure, there are three leading types of stories:

the Phantom of the Opera

the Cinderella

the Romeo and Juliet

Though these all have their variations (especially in motivation and climax), they are all linked together by the commonality that they feature two main characters who fall in love. Unlike stories where a Romance subplot is minor, the Romance story focuses on the love (and sometimes plight) of these two central characters.

The Phantom of the Opera Story Structure

In this classic plot, the masculine character falls in love with the feminine character, and is then left at her mercy. The feminine character is his primary weakness, whereas in every other aspect, he is strong (think Beauty and the Beast). She is likely repelled by him at first, especially since he is far outside her usual romantically inspired endeavours.

The beginning of this story sees the introduction of the heroine, seeing her life and how good (or bad) her life is. Some circumstance (often bad) brings her to first contact with the hero, whom she at first finds repulsive. In this structure, he is often seen as a bit frazzled and lonely. This hero immediately falls in love with the heroine.

In the central parts of this story, these two main characters are forced, for some reason, to stay together. The heroine is tentative about this budding relationship, up until the hero does something so honorable, charming, heroic, etc, which makes her fall in love with him. In the latter parts of the middle section, there are usually obstacles placed in their path that try to keep them apart.

The heroine saves the hero in the end. He finds himself in trouble, and she comes to his rescue (which counters the Arthurian, traditional "knight in shining armor" archetype). And of course, the two live happily ever after.

The Cinderella Story Structure

In this structure, as opposed to the Phantom structure, the heroine is the first to fall in love with the hero. She has the air of independence, especially when compared with her family, though she is hopelessly in love with the hero (or Prince Charming in the Cinderella story).

In the beginning, the hero is introduced and the audience sees that he is unhappy or unfulfilled in some way. The heroine is introduced also, and her life is desperate and pathetic, although she stands out as extraordinary against other women. These two characters meet, and she falls in love.

The middle is where, like Phantom structure, something forces the two characters to be with one another. In this structure, it is the hero who is hesitant about the relationship, and he may try to push her away. At this point, he may understand that he really does love her, but his uncertainty will keep them separate.

The hero finally pursues the heroine in the end. Even though she's supposedly been independent up to this point in her life, the hero will teach her how to be happy in the absence of her once-desperate life. And of course, once again, the two live happily ever after.

The Romeo and Juliet Story Structure

The main characters in this plot are more on the same level, and they fall in love with each other at the same time. Their love is mutual and deep, and sadly, the ending is often tragic.

The beginning is where the heroine (or the hero, in less traditional stories) finds herself in her newly adulterated world, one that was once perfect in her eyes. She feels desperate at this point, perhaps with no hope, and she may not know why. When others try to help her, it's all in vain and she remains in this state. The two main characters may not meet just yet.

In the middle, the hero decides to pursue something of great risk, something that ultimately leads him to the heroine. They of course fall in love, and both are changed for the better. And like the other two structures, obstacles fall in their way.

Finally, their love continues to deepen, and they are both completely determined to remain together forever, despite the cost (hence the title of this structure). This story doesn't have to be tragic, but often is because of the depth of the main characters' love for each other.

Considering how well the Romance story structure manages in the book-selling world, it's obvious that readers everywhere hanker for a good love story. As for writers who are perhaps writing a Fate story or a Journey plot structure, it is likely there will be romantic elements to their stories, so don't be afraid to use these structures as subplots.