Creating Conflict

The Importance of Building Limitations for a Magic System

C.R. Rowenson — Fri, 04 Nov 2022 17:33:35 GMT

Current Revision posted to Creating Conflict by C.R. Rowenson on 11/4/2022 5:33:35 PM

Conflict must be a part of your story arc to give it a clear beginning, middle, and ending. It deepens reader engagement, provides richer meaning, and helps drive your story or plot forward. For fantasy authors, this conflict can be created by building some limitations into your world's magic system. Fantasy author and book coach C.R. Rowenson Without major points of conflict, your story will fall flat and make readers lose interest.

www.authorlearningcenter.com/.../TheImportanceofBuildingLimitationsforaMagicSystem.mp4

Tags: fiction, Teen and Young Adult, Subscriber, video, Science Fiction & Fantasy

The Importance of Building Limitations for a Magic System

C.R. Rowenson — Fri, 04 Nov 2022 17:32:32 GMT

Revision 1 posted to Creating Conflict by C.R. Rowenson on 11/4/2022 5:32:32 PM

www.authorlearningcenter.com/.../TheImportanceofBuildingLimitationsforaMagicSystem.mp4

Tags: fiction, Subscriber, video, Science Fiction & Fantasy

Understanding the Rules for Magic in Fantasy Novels

Laurel Anne Hill — Mon, 08 Jun 2020 12:42:58 GMT

Current Revision posted to Creating Conflict by Laurel Anne Hill on 6/8/2020 12:42:58 PM

The number one rule for using magic in a fantasy novel is that there has to be a rule, says Laurel Anne Hill, award-winning author and former underground storage tank operator. Magic has to have its limits. It may be that there is a price for practicing magic – something happens to your characters or the world around them when they devote themselves to magic, and it is often detrimental, explains Hill. This may be corruption to the environment, the surrounding characters in the book, or to the soul of the magician. Having these limits prevents characters from over-using magic. When an author imposes these limits, he or she must give a hint to the reader early on that there is something unusual going on, and that there is a dark side to the magic.

www.authorlearningcenter.com/.../UnderstandingtheRulesforMagicinFantasyNovels.mp4

Tags: fiction, Subscriber, video, Science Fiction & Fantasy

How Screenwriters and Novelists Can Create a Captivating Beginning

John Henry Davis — Thu, 21 May 2020 17:24:18 GMT

Current Revision posted to Creating Conflict by John Henry Davis on 5/21/2020 5:24:18 PM

There is one big difference author, instructor, director, and screenwriter John Henry Davis has noticed between the beginnings of movies and television shows. Traditionally, episodic content will start with a dramatic event that leads viewers into the story. Films may do this, but more often you’ll see a movie (and novels) begin in the ordinary world and establish the status quo of the protagonist. Then, something will happen to change that normal life – the stakes are high, an antagonist emerges, and the protagonist has a mission to which he or she must respond. In the end, starting small and softly without action or starting with a bang and thrusting readers or viewers into the story is the author’s choice, says Davis.

www.authorlearningcenter.com/.../HowScreenwritersandNovelistsCanCreateaCaptivatingBeginning.mp4

Tags: fiction, Subscriber, video

The Elements of a Page-Turner - podcast

Stan Lee — Thu, 21 Nov 2019 17:22:14 GMT

Current Revision posted to Creating Conflict by Stan Lee on 11/21/2019 5:22:14 PM

The late Stan Lee didn't have any rules about what makes a story a page turner, he just made sure to interest himself along the way. Lee, comic creator of Spider-man, Fantastic Four and X-Man and former president and CEO of Marvel Comics, says an author has to have a basic idea of plot. From there, he must make the audience care about the hero so that when he gets in trouble, they suffer too. Tension develops when the hero keeps trying to do right, only to land in deeper trouble. How will he get out of it this time? Lee often wondered this too! But by introducing complex situations and surprises, readers are taken on quite a journey that offers big relief and enjoyment when the payoff occurs.

www.authorlearningcenter.com/.../StanLeeTheElementsofaPageTurner.mp3

Tags: fiction, podcast

The Elements of a Page-Turner - video

Stan Lee — Thu, 21 Nov 2019 13:47:09 GMT

Current Revision posted to Creating Conflict by Stan Lee on 11/21/2019 1:47:09 PM

www.authorlearningcenter.com/.../StanLeeTheElementsofaPageTurner1strev.mp4

Tags: fiction, video

The Elements of a Page-Turner - podcast

Stan Lee — Wed, 20 Nov 2019 16:16:58 GMT

Revision 3 posted to Creating Conflict by Stan Lee on 11/20/2019 4:16:58 PM

The late Stan Lee didn't have any rules about what makes a story a page turner, he just made sure to interest himself along the way. Lee, comic creator of Spider-man, Fantastic Four and X-Man and former president and CEO of Marvel Comics, does say an author has to have a basic idea of plot. From there, he must make the audience care about the hero so that when he gets in trouble, they suffer too. Tension develops when the hero keeps trying to do right, only to land in deeper trouble. How will he get out of it this time? Lee says he often wonders this too! But by introducing complex situations and surprises, readers are taken on quite a journey that offers big relief and enjoyment when the payoff occurs.

www.authorlearningcenter.com/.../StanLeeTheElementsofaPageTurner.mp3

Tags: fiction, podcast

The Elements of a Page-Turner - video

Stan Lee — Wed, 20 Nov 2019 16:16:32 GMT

Revision 3 posted to Creating Conflict by Stan Lee on 11/20/2019 4:16:32 PM

The late Stan Lee didn't have any rules about what makes a story a page turner, he just made sure to interest himself along the way. Lee, comic creator of Spider-man, Fantastic Four and X-Man and former president and CEO of Marvel Comics, does say an author has to have a basic idea of plot. From there, he must make the audience care about the hero so that when he gets in trouble, they suffer too. Tension develops when the hero keeps trying to do right, only to land in deeper trouble. How will he get out of it this time? Lee says he often wonders this too! But by introducing complex situations and surprises, readers are taken on quite a journey that offers big relief and enjoyment when the payoff occurs.

www.authorlearningcenter.com/.../StanLeeTheElementsofaPageTurner1strev.mp4

Tags: fiction, video

How Tension and Suspense Can Set the Pacing of a Story

Helga Schier — Tue, 28 May 2019 20:25:11 GMT

Current Revision posted to Creating Conflict by Helga Schier on 5/28/2019 8:25:11 PM

“I believe suspense drives all fiction, not only mystery,” says editor Helga Schier. “Unless we really are interested in what happens next, we won’t turn the pages.” Suspense, she explains, is the reader’s anticipation for what’s going to happen next in a story. There must first be tension in a story for a reader to care enough about what might happen next. To create tension and suspense, it’s important that plot events have consequences. Schier encourages writers to move past the mundane moments quickly to keep the pace interesting to readers. Raising the stakes on the major plot events will also create an emotional investment on the part of the reader. One way to do this is to put a “deadline” on a plot point. A race against time puts more pressure on plot and on characters, creating excitement for the reader. Another way is to create cliffhangers, says Schier. Watch the clip below to learn more about these strategies that will keep your readers turning the pages.

www.authorlearningcenter.com/.../HowTensionandSuspenseCanSetthePacingofaStory.mp4

Tags: fiction, Subscriber, video

How Subtext Contributes to Creating the Atmosphere of a Story

Helga Schier — Tue, 28 May 2019 20:01:26 GMT

Current Revision posted to Creating Conflict by Helga Schier on 5/28/2019 8:01:26 PM

All human relationships have conflict and tension because of differing agendas. It is rare that two people are on exactly the same page, and most of the time each person’s differences are not explicitly stated. In a story, it's that underlying tension and the things unsaid that act as subtext. Editor Helga Schier believes subtext is a critical part of creating dynamic character relationships, which impact a story's atmosphere. She teaches that subtext can be created through dialogue that is intentionally on the surface, while using the narration to go deeper and reveal the truth. Even nonverbal expressions such as body language are powerful signifiers of subtext. Schier explains that whether the subtext is set up previously in the story or in a character’s backstory, most of what is unsaid has to be built into the story. Watch the clip below to learn more from Schier about how subtext can impact the depth and atmosphere of your story.

www.authorlearningcenter.com/.../HowSubtextContributestoCreatingtheAtmosphereofaStory.mp4

Tags: fiction, Subscriber, video

How Tension and Suspense Can Set the Pacing of a Story

Author Learning Center — Tue, 28 May 2019 18:02:38 GMT

Revision 1 posted to Creating Conflict by Author Learning Center on 5/28/2019 6:02:38 PM

How Subtext Contributes to Creating the Atmosphere of a Story

Author Learning Center — Tue, 28 May 2019 18:02:32 GMT

Revision 1 posted to Creating Conflict by Author Learning Center on 5/28/2019 6:02:32 PM

All human relationships have conflict and tension because of differing agendas. It is rare that two people are on exactly the same page, and most of the time each person’s differences are not explicitly stated. In a story, it's that underlying tension and the things unsaid that act as subtext. Editor Helga Schier believes subtext is a critical part of creating dynamic character relationships, which impact a story's atmostphere. She teaches that subtext can be created through dialogue that is intentionally on the surface, while using the narration to go deeper and reveal the truth. Even nonverbal expressions such as body language are powerful signifiers of subtext. Schier explains that whether the subtext is set up previously in the story or in a character’s backstory, most of what is unsaid has to be built into the story. Watch the clip below to learn more from Schier about how subtext can impact the depth and atmosphere of your story.
www.authorlearningcenter.com/.../HowSubtextContributestoCreatingtheAtmosphereofaStory.mp4

Conflict 101: Internal Conflict - article

Author Learning Center — Mon, 22 Apr 2019 17:47:34 GMT

Current Revision posted to Creating Conflict by Author Learning Center on 4/22/2019 5:47:34 PM

What is Internal Conflict?

Conflict is a necessary ingredient to any good story. Without a struggle between two opposing forces, your main character won’t change and will easily reach their goal. Doesn’t sound like too exciting of a story, does it?

Every story on your bookshelf includes at least one—but probably multiple—forms of conflict. As you build your narrative structure, you’ll use conflict to build tension and keep your reader turning the page.

There are two main types of conflict: internal and external. External conflict refers to conflict between the main character and an external force such as a villain or nature. In contrast, internal conflict is a type of inner struggle that affects the main character’s mental and emotional state.

For example, a character may struggle with a fear of heights, a desire for power, or a need to live up to someone’s expectations.

Internal conflict is important because it develops your main character, making him or her feel more realistic and sympathetic to the reader.

Examples of Internal Conflict

Internal conflict usually falls into five main “triggers”:

1. Desire, or something the character wants
2. Need, or something the character requires for survival
3. Duty, or some obligation that character feels is right or necessary
4. Fear, or a strong worry that drives the character
5. Expectation, or something a character feels obligated to do because of someone else

When a character experiences two or more of these triggers at a time, you have internal conflict, causing your character to feel doubt, fear, confusion, or distress, among many other emotions.

For example, in Suzanne Collins’s The Hunger Games, Katniss Everdeen volunteers to compete in a fight-to-the-death match in order to save her sister from competing. Katniss doesn’t want to kill anyone, but she knows she must win in order to get back home and take care of her family.

Her duty to protect her sister, her desire to stay alive, and her need to kill others in order to win all conflict with Katniss’s reluctance to compete in the tournament. This causes an internal conflict within Katniss throughout the story.

Take a minute to think about your favorite novel. What sort of internal conflict is at play in the story? What do the characters desire, need, or fear? What do they feel is their duty? What expectations are they held to? And then, how do a combination of these triggers cause in internal conflict within them?

How to Add Internal Conflict to Your Story

In order to add internal conflict successfully into your story, you have to start with your characters. As an exercise, start with the main character of your novel and ask yourself the following questions about him/her:

1. What does he/she fear? What are his/her core values in life?
2. What does he/she desire throughout the story? Is there anything he/she desires that they don’t know they want? An expectation or duty they must fulfill?
3. What desire is so strong that it could cause your character to overcome his/her fears? Ignore his/her values or duties?

Once you answer these questions, try putting it into a sentence like this:

- “I don’t want to kill anyone, but I must win this tournament in order to get home and take care of my family.”
- “I want to be with Juliet, but my family would never allow it.”
- “I have a duty to be the King of Pride Rock, but I am afraid that I will not succeed.”

The key to a riveting internal conflict is consequences. You character should be stuck between two conflicting feelings—both of which could lead to a not-so-perfect outcome for him/her.

There shouldn’t be one obvious choice for your main character. If there is, you need to raise the stakes.

In order to create a more engaging story, you need to leave questions for your reader that keep them turning the page. It should not be immediately clear to the reader what the character will choose, how they’re going to get out of the situation, or what they will risk to get there. That’s what makes a story fun to read!

How External and Internal Conflict Work Together

You need both internal and external conflict to write a great story. Without one or the other, a story will likely fall flat. But how do you make the two work together to create a seamless plot?

The simplest answer is: make any conflict oppose your character’s main goal or motivation. If your character wants to get the girl, every conflict in your story should make it more difficult for him/her to do so.

The difference between the two is that the main character will likely overcome multiple external conflicts throughout the story, but the internal conflict tends to stick around until the end.

External conflict can also arise when two or more characters’ internal conflicts contrast each other. For example, in Nicholas Sparks’s The Notebook, Allie’s need to live up to her parent’s expectations and Noah’s underprivileged background causes them to struggle to maintain a relationship.

As long as your character has a strong motivation and you create internal and external conflicts that make it more difficult for your character to reach that goal, you will likely write a great story.

Tags: article, fiction

Conflict 101: External Conflict - article

Author Learning Center — Mon, 22 Apr 2019 17:46:51 GMT

Current Revision posted to Creating Conflict by Author Learning Center on 4/22/2019 5:46:51 PM

What Is External Conflict?

Conflict is a necessary ingredient to any good story. Without some obstacles to get in your main character’s way, he/she will reach their goal with no opposition. Doesn’t sound like too exciting of a story, does it?

There are two main types of conflict: internal and external. Internal conflict refers to the inner struggle that affects a character’s mental and emotional state. External conflict refers to conflict between the main character and any external force, such as a villain, government, or nature.

Examples of External Conflict

There are four main types of external conflict:

1. Character vs. Character

This is where one character conflicts with another. This type of conflict occurs because a protagonist and antagonist have the same goal, have conflicting goals where they stand in each other’s way, or one wants what the other has.

Harry Potter’s conflict with Voldemort throughout J.K. Rowling’s Harry Potter series is an example of Character vs. Character conflict.

2. Character vs. Society

This is where the main character conflicts with a government, system, or a societal mindset. This type of conflict usually occurs because the character has a strong motivation to take action against their society, whether it be for survival, freedom, morality, or some other desire.

Margaret Atwood’s The Handmaid’s Tale is an example of Character vs. Society conflict.

3. Character vs. Nature

This is where the main character conflicts with an animal, weather, the terrain, or some other facet of nature. This type of conflict usually involves the main character fighting for their survival.

Andy Weir’s The Martian is an example of Character vs. Nature conflict.

4. Character vs. Technology

This is where the main character conflicts with some element of technology. This type of conflict usually involves the main character fighting for survival or protecting others.

Mary Shelley’s Frankenstein is an example of Character vs. Technology conflict.

How to Add External Conflict to Your Story

In order to add external conflict successfully into your story, you must ensure that your protagonist and antagonist are equally paired. If it’s too obvious which one is going to win in the end, your story won’t have enough tension—which means the reader won’t feel the need to keep reading!

All moments of external conflict should also raise the stakes by keeping the main character from reaching his/her goal.

As an exercise, ask yourself the following questions to map out your story’s conflicts:

- What does your protagonist want? Why do they want to achieve this goal?
- Who or what opposes your protagonist as they attempt to reach this goal?
- Why does the antagonist or antagonistic force oppose your main character?
- What steps will your protagonist try to take to achieve their goal? What about your antagonist?
- How will the conflict end? Who will come out on top? Why does one win out over the other?

Once you’ve thought about these questions, it should be easier to figure out the plot elements that build your story.

How Internal and External Conflict Work Together

You need both external and internal conflict to write a great story. Without one or the other, a story will likely fall flat. But how do you make the two work together to create a seamless plot?

The difference between the two is that the main character will likely overcome multiple external conflicts throughout the story, but the internal conflict tends to stick around until the end.

Tags: article, fiction

Conflict 101: Internal Conflict - article

Author Learning Center — Fri, 19 Apr 2019 17:56:22 GMT

Revision 3 posted to Creating Conflict by Author Learning Center on 4/19/2019 5:56:22 PM

What is Internal Conflict?

For example, a character may struggle with a fear of heights, a desire for power, or a need to live up to someone’s expectations.

Internal conflict is important because it develops your main character, making him or her feel more realistic and sympathetic to the reader.

Examples of Internal Conflict

When a character experiences two or more of these triggers at a time, you have internal conflict, causing your character to feel doubt, fear, confusion, or distress, among many other emotions.

How to Add Internal Conflict to Your Story

Once you answer these questions, try putting it into a sentence like this:

The key to a riveting internal conflict is consequences. You character should be stuck between two conflicting feelings—both of which could lead to a not-so-perfect outcome for him/her.

There shouldn’t be one obvious choice for your main character. If there is, you need to raise the stakes.

How External and Internal Conflict Work Together

You need both internal and external conflict to write a great story. Without one or the other, a story will likely fall flat. But how do you make the two work together to create a seamless plot?

The difference between the two is that the main character will likely overcome multiple external conflicts throughout the story, but the internal conflict tends to stick around until the end.

Tags: article, fiction

Conflict 101: External Conflict - article

Author Learning Center — Fri, 19 Apr 2019 17:53:19 GMT

Revision 3 posted to Creating Conflict by Author Learning Center on 4/19/2019 5:53:19 PM

What Is External Conflict?

Examples of External Conflict

There are four main types of external conflict:

1. Character vs. Character

Harry Potter’s conflict with Voldemort throughout J.K. Rowling’s Harry Potter series is an example of Character vs. Character conflict.

2. Character vs. Society

Margaret Atwood’s The Handmaid’s Tale is an example of Character vs. Society conflict.

3. Character vs. Nature

This is where the main character conflicts with an animal, weather, the terrain, or some other facet of nature. This type of conflict usually involves the main character fighting for their survival.

Andy Weir’s The Martian is an example of Character vs. Nature conflict.

4. Character vs. Technology

This is where the main character conflicts with some element of technology. This type of conflict usually involves the main character fighting for survival or protecting others.

Mary Shelley’s Frankenstein is an example of Character vs. Technology conflict.

How to Add External Conflict to Your Story

All moments of external conflict should also raise the stakes by keeping the main character from reaching his/her goal.

As an exercise, ask yourself the following questions to map out your story’s conflicts:

Once you’ve thought about these questions, it should be easier to figure out the plot elements that build your story.

How Internal and External Conflict Work Together

You need both external and internal conflict to write a great story. Without one or the other, a story will likely fall flat. But how do you make the two work together to create a seamless plot?

The difference between the two is that the main character will likely overcome multiple external conflicts throughout the story, but the internal conflict tends to stick around until the end.

Tags: article, fiction

Tips for Successfully Implementing Conflict in a Story

John Wilkerson — Fri, 11 Jan 2019 20:03:42 GMT

Current Revision posted to Creating Conflict by John Wilkerson on 1/11/2019 8:03:42 PM

Plotting a novel before writing it isn’t a part of everyone’s process. However, determining the structure of a story is vital for every author, whether a plotter or a “pantser.” Without a solid structure, a story will lose a reader, no matter how compelling the characters. Author John Wilkerson’s rule is to include the key element of conflict in every single chapter. He puts it in one of three places: the beginning, three-quarters of the way through, or the end. Where he puts it depends on the type of conflict. Some types of conflict set up the next chapter well. Some conflicts cannot be placed at the beginning of a chapter because it will slow down the story arc of the chapter. This type of continual conflict, whether externally imposed on a character or internally imposed, will keep a reader moving through the story, falling from one event into the next. Learn more about storytelling techniques as Wilkerson shares the types of conflicts he utilizes and where he places them in the structure of a larger story.

www.authorlearningcenter.com/.../TipsforSuccessfullyImplementingConflictinaStory.mp4

Tags: fiction, Subscriber, video

Tips for Successfully Implementing Conflict in a Story

John Wilkerson — Fri, 11 Jan 2019 19:29:55 GMT

Revision 3 posted to Creating Conflict by John Wilkerson on 1/11/2019 7:29:55 PM

www.authorlearningcenter.com/.../TipsforSuccessfullyImplementingConflictinaStory.mp4

Tips for Successfully Implementing Conflict in a Story

John Wilkerson — Fri, 11 Jan 2019 19:12:04 GMT

Revision 2 posted to Creating Conflict by John Wilkerson on 1/11/2019 7:12:04 PM

Plotting a novel before writing it isn’t a part of everyone’s process. However, determining the structure of a story is vital for every author, whether a plotter or a “pantser.” Without a solid structure, a story will lose a reader, no matter how compelling the characters. Author John Wilkerson’s rule is to include conflict in every single chapter. He puts it in one of three places: the beginning, three-quarters of the way through, or the end. Where he puts it depends on the type of conflict. Some types of conflict set up the next chapter well. Some conflicts cannot be placed at the beginning of a chapter because it will slow down the story arc of the chapter. This type of continual conflict, whether externally imposed on a character or internally imposed, will keep a reader moving through the story, falling from one event into the next. Learn more about storytelling techniques as Wilkerson shares the types of conflicts he utilizes and where he places them in the structure of a larger story.

www.authorlearningcenter.com/.../TipsforSuccessfullyImplementingConflictinaStory.mp4

Tips for Successfully Implementing Conflict in a Story

Author Learning Center — Fri, 11 Jan 2019 18:45:32 GMT

Revision 1 posted to Creating Conflict by Author Learning Center on 1/11/2019 6:45:32 PM

Content Here

www.authorlearningcenter.com/.../TipsforSuccessfullyImplementingConflictinaStory.mp4