Escaping the Morass of Stupid Tropes

So I'm lying in the dentist's chair this afternoon getting my teeth cleaned, when it hits me that I may be on the verge of committing an authorial sin I've always condemned in others. That's the trespass of having the plot depend on one of a loving couple, who have always communicated closely and openly, suddenly refraining from giving her lover a crucial piece of information, which lack of candor results in trouble, grief, mayhem, misunderstandings, and maybe even dandruff and the Heartbreak of Psoriasis.

What am I gonna do? It won't be a matter of letting him misinterpret something she's already done; rather, she wants to keep him in the dark about something she plans to do, something dangerous and daring and more than a little foolhardy. And she has to do it for my plot to reach its climax. How can I escape unspotted from the morass of stupid tropes?

Hmmm. I've been thinking about this the past couple of hours (happily, no longer in the dentist's chair). And I believe I can make it work by having her reason that she's keeping him in the dark for his own good because she loves him so much. She's got a strong protective streak in her . . . And she'll keep her mouth shut about her dangerous plans because she knows he wants to protect her, and if he knew he'd probably stop her. "Leave it to the police," he'd say, and ordinarily, he'd be right. But my FMC doesn't trust the police to handle it.

Ah, nothing like clarifying character motivations to get you out of Stupid Trope Prison. At least, I hope so.

Two Steps Back, Three Steps Forward Equals Progress

Thinking how I wanted to get The Single Eye published last winter.  Then by the end of August.  You mind if I fall over myself laughing?

Boy, do I have a lot of rewriting left to do. As much as some of my latest beta reader's comments bug me, three or four of them make me go, "Hmmm, what about it?" Does my villain come on too strong at the beginning? Given that he behaves like a consistent jerk from the get-go, isn't my male protagonist sliding into Too-Stupid-to-Live territory by not immediately seeing through him?  I've gone through a period of insisting that I can't make him more than minimally proactive, given his position in life. But is that really true? Aren't there things he would do to deal with the trash the villain is throwing at him? Then at the end, after the female protag saves the day with her "heroics," would she still feel like an idiot after law enforcement praised her for her bravery?

I've come to the conclusion that all these things call for revision, not because I want the approval of my latest beta reader or because I feel I have to change my work to fit her views, but because I believe that once rewritten, my characters will be more true to who I already claim them to be.

I'm starting at the beginning and working my way through. This past Wednesday I got to the point in Chapter 5 (now Chapter 4) just short of the scene when the antagonist (soon to be villain) makes his pitch. This is progress.