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Once you have the scene outlined, it is time to develop the content.1. Opening Line: Set up the conflict in the scene.
2. First paragraphs: Orient us: where are we, when is it, who is present, and what do they want?
3. Introduce theme and make sure the goal is understood.
4. Follow a logical chain of events: The action or conversation is followed by a visceral response, then a conscious response, then recovery/thinking/planning, then the outcome which should result in a new goal.
Make sure you show a recovery after all key scenes and turning points.
5. Vary the speed to create a flow that keeps a reader interested.
1) Slow, fast, slow.
2) Slow, medium, fast.
3) Fast, medium, slow.
4) Medium, fast, slow.
Vary sentence structure. Vary the speed within the scene. Nonstop action without resting beats is too fast. All internal narration and narration without action beats is too slow. Highlight the fast parts. Are there peaks and valleys? Have quieter, slower conflicts between big turning points and reveals.
Every tense action scene should have a rise, impact, and fall. Every tense conversation should have a lead up to a tense exchange, a verbal zinger, and a response. Show the recovery, leave a hook with the new complication.
Slow speed includes blend of description, narrative, internal dialogue and narrative, and exposition (i.e. background information). Long cumulative sentences are slow (use sparingly). Facts, review, summary, backstory, and flashbacks are slow.
Use Medium/Normal pacing when the story is progressing but nothing special is happening. Good for setting a scene or transitioning between two dramatic scenes. Give readers a break from the action and slow down the pace. Use an even blend of description, dialogue, narration, and exposition. Include step by step detail. Use compound sentences with limited detail. Use fleshed out dialogue interposed with action beats and short internal thoughts. Focus on a specific encounter or activity.
Use Atmospheric pacing to create a mood or feeling in a chapter. Set a scene, establish tone, or foreshadow events, often all at the same time. Blend physical and psychological description to set the mood. The story is moving forward but the blend of descriptions suffuses the scene with the desired effect.
Use Suspenseful pacing to keep readers on the edge of their seat. Focus on step by step detail and action that work toward but delay the ultimate payoff. Use short, choppy rhythm, then long beats, then short, choppy beats. Suspense is slow but seems fast because the reader speeds up as he rushes to see how events play out.
Someone is being hunted or struggling. Allow the reader to feel anxiety. Dialogue with a little action and description thrown in can be suspenseful, tense. Use description to set up scary mood. Drag out tension. The verbal camera is at a wide angle. The catalyst could be sights, smells, sounds, touch, anxiety. Zoom in closer until on the face or inside head. The climax should be in virtual slow motion, blow by blow focus on the words and actions.
Use fast pace to create tension. Dialogue is fast with little action or thoughts and lots of white space. High action scenes or characters engaged in emotional confrontations are fast. Short summary can be fast. Short dialogue and action beats, base clauses, and short sentences add speed. The verbal camera is zoomed in all the way. Save high speed for important turning points. Focus on one element to the exclusion of all others, just dialogue or narration of action. Leave out description beyond physical action. Use short snappy sentences. Avoid details like left and right that force your reader to think about it. Once involved in the action, switch to longer compound and cumulative sentences. Pause when characters pause to maintain the illusion.
6. Closing line: End with a hook to set up next scene and convince the reader to turn the page.For more about how to craft plots using conflict check out, Story Building Blocks: The Four Layers of conflict available in print and e-book and check out the free tools and information about the series on my website.
Now that you have the basic concept for your plot and have developed ideas for scenes, it is time to write them. Let's examine what constitutes a scene.
A scene consists of specific characters in one location going after a specific goal at a specific time. Characters can enter and exit a scene. Characters can move from one location to another. The important part is to not waste page time on the boring details of transport from one place to another and to avoid timeline plot holes with starting out in the morning and having it pitch black night ten minutes later. In every scene, we need to know where we are, when it is, who is present, and whether they get what they want.
SCENE WORKSHEET
Scene# ___
Goal:____________________________________________________________
POV:_________________________________________________________________
What are the obstacles involved?:
_____________________________________________________________________
It the goal achieved? ¨Yes ¨No ¨Yes, but ¨No and furthermore
Type of Conflict: ¨External # __ ¨Antagonist # ___ ¨Interpersonal #____
or ¨Internal # ____
Source of Conflict:_____________________________________________________________
Who is involved: ¨ Protagonist ¨Antagonist ¨Love Interest ¨Friends # ___________ ¨Foes#_______________
¨Main Plot or ¨Subplot____
Setting/Timeline:________________________________________________________
Physical Location:(geographic, room or building, outside, inside, in a vehicle, etc.).
____________________________________________________________________
Date: ____________________ Day of Week:_________________________________
Time ___ o’clock
¨ Morning ¨ Mid Morning ¨Noon ¨Afternoon ¨ Evening ¨Night
Season: ¨ Spring ¨Summer ¨Fall ¨Winter
Holiday or other special occasion_____________________________________
Weather or Room Conditions:____________________________________________________
Opening Line: __________________________________________________
Closing Line:___________________________________________________
For downloadable forms please visit http://www.dianahurwitz.com.
For more about how to craft plots using conflict check out, Story Building Blocks: The Four Layers of conflict available in print and e-book and check out the free tools and information about the series on my website.
Once you have the premise, the antagonist, the friends, foes, and overall story problem. It is time to break it down into layers. By coming up with at least ten scene ideas for each conflict layer, you can keep the plot moving forward in satisfying curves and twists, keeping the verbal camera on the move.
Layer One: External Conflict
What is the main story problem that all of your characters are dealing with?
These conflicts will test the protagonist’s courage, nerves, and determination.
List at least ten things that will happen to escalate this conflict: snags in the plan, unexpected discoveries, increasing levels of threat, and arrange them in an order that will make the most impact with the final scene being the resolution.
(Examples: finds gun, interviews suspect, confronts best friend, goes on date, looks for answer, can’t find someone).
At each step is the protagonist moving toward or away from the goal?
Layer two: Antagonist Conflict
How will the protagonist and antagonist face off? Use these scenes to reveal how they will pursue and evade or influence one another.
These conflicts will test the protagonist’s knowledge, ingenuity, and strength.
They are battles of will and wit. If the story involves multiple points of view and the antagonist is one of them, these scenes would be written following his or her point of view. All of the conflicts lead to the climactic confrontation with the protagonist.
List ten ideas.
Is the protagonist moving toward or away from his goal?
If these scenes follow the antagonist's POV, is he moving toward or away from his goal?
Layer three: Interpersonal Conflicts
How will the protagonist be affected by his friends and foes?
These conflicts will test the protagonist’s friendships, and loyalties.
Friends and foes can be used in any combination of scenes that fit with your story line. Make a list of Interpersonal Conflicts and who they will be with. Remember, not all are negative. There can be positive encounters.
List ten ideas.
Which friend or foe is involved? Are they helping or hindering?
The fourth layer: Internal Conflict
These scenes test the protagonist's will to continue the fight.
These scenes explore the personal dilemma of the protagonist that will lead to the point of change. He can do this through internal dialogue or dialogue with someone acting as his foil.
This is where you reveal the event that happened in the past and how it changed him. This is him dealing with the death of his partner, the loss of his wife, the child he didn’t save. These scenes can show him struggling with a habit or addiction or an ailing parent or wife.
This often culminates in the section after the climax, where we find out if the protagonist is going to live happily ever after. It can also culminate just prior to the climax. That does not mean other characters cannot be in these scenes or that he is not doing anything. It means his thoughts, reactions and actions illustrate the dilemma that is driving him toward his point of change.
List ten ideas. Is the protagonist solving or complicating his dilemma?
Now arrange the conflicts in the order that work best for your story. Try not to stack too many scenes of any one type together. Keep the flow steady.
For more about how to craft plots using conflict check out, Story Building Blocks: The Four Layers of conflict available in print and e-book and check out the free tools and information about the series on my website.
Let's take the information we've developed and place it into a basic synopsis.
In my (word count) _________________ (genre)_______________________ novel,
(title) ____________________________________________________________,
(protagonist)____________________________________________is confronted by
(inciting event)_______________________________________________________,
leading to (overall story problem)______________________________________
and forcing him/her to (story goal)_______________________________________
Along the way he/she needs to resolve (personal dilemma)_____________________
which results in (point of change)________________________________________
Standing in his/her way is (antagonist)_____________________________________
who is determined to (antagonist’s goal)___________________________________.
As a result, the protagonist:
o succeeds and feels good about it
o succeeds and feels bad about it
o fails and feels good about it
o fails feels bad about it)
and learns (theme)___________________________________________________.
These are the bare bones of a synopsis. Making it sparkle requires your word polish.
For more about how to craft plots using conflict check out, Story Building Blocks: The Four Layers of conflict available in print and e-book and check out the free tools and information about the series on my website.
Last week, we began our story architecture process with the protagonist and antagonist. This week, we continue to answer questions and add layers.
FRIENDSList the friendly characters and their motivations and/or opinions on the central theme.
Friend #1 Character Name: ____________________
Enters the story in Scene#___________ Exits the story in Scene#___________
This character complicates or advances the protagonist’s achievement of his goal by: ________________________________________________
Friend #2 Character Name: ___________________________________
Enters the story in Scene#_____ Exits the story in Scene#____
This character complicates or advances the protagonist’s achievement of his goal by:__________________________________________________________________
Friend #3 Character Name:________________________________________
Enters the story in Scene#_____ Exits the story in Scene#____
This character complicates or advances the protagonist’s achievement of his goal by:_________________________________________________________________
Friend #4 Character Name: ___________________________________________
Enters the story in Scene#______ Exits the story in Scene#____
This character complicates or advances the protagonist’s achievement of his goal by:__________________________________________________________________
Friend #5 Character Name: ___________________________________________
Enters the story in Scene#______ Exits the story in Scene#______
This character complicates or advances the protagonist’s achievement of his goal by:_________________________________________________________________
Friend #6 Character Name: ___________________________________________
Enters the story in Scene#________ Exits the story in Scene#______
This character complicates or advances the protagonist’s achievement of his goal by:___________________________________________________________
Friend #7 Character Name: ______________________________________
Enters the story in Scene#______ Exits the story in Scene#_____
This character complicates or advances the protagonist’s achievement of his goal by:___________________________________________________________
Friend #8 Character Name: ______________________________________
Enters the story in Scene#______ Exits the story in Scene#_____
This character complicates or advances the protagonist’s achievement of his goal by:______________________________________________________________
Friend #9 Character Name: ____________________________________
Enters the story in Scene#_______ Exits the story in Scene#_________
This character complicates or advances the protagonist’s achievement of his goal by:____________________________________________________________
Friend #10 Character Name:______________________________________
Enters the story in Scene#_____ Exits the story in Scene#_______
This character complicates or advances the protagonist’s achievement of his goal by:____________________________________________________________
Next week, we continue to add layers by developing the foes.
For more about how to craft plots using conflict check out, Story Building Blocks: The Four Layers of conflict available in print and e-book and check out the free tools and information about the series on my website.
Over the next few weeks, during the month of NanoWriMo, I thought I'd walk you through my process of outlining a story based on my theory set out in the Story Building Blocks series of books.
By working through a series of questions you can build a basic story skeleton.
1) What is your initial premise or set up?__________________________________
2) Which will drive your story?
1 If your story is plot driven, it will sit on a genre shelf.
1 If it is character driven, it will most likely sit on the literary shelf.
3) In my story the main character struggles with the overall story problem and learns
(Theme): ___________________________________________________________
4) My protagonist is: __________________________________________________
Enters the story in Scene#___________ Exits the story in Scene#___________
5) If there is a love interest, he or she is: ___________________________________
Enters the story in Scene#___________ Exits the story in Scene#___________
6) As the result of the (inciting event) the protagonist is forced to face the overall
story problem:_______________________________________________________
7) The inciting event forces the protagonist to make a decision or take action to (story
goal): ______________________________________________________________
8) Achieving this goal is complicated by his/her having to deal with (personal dilemma): ___________________________________________________________
9) In achieving (or not achieving) the story goal, the character resolves his/her personal dilemma in this way (point of change): _____________________________________
10) The characteristic/ability that keeps the protagonist from ignoring the story
problem is (character flaw or weakness):
__________________________________________________________________
11) The characteristic/ability that enables him to solve the story problem is (secret
weapon):___________________________________________________________
12) Directly opposed to the protagonist’s goal is the (antagonist or antagonistic force
such as god, society, nature, self) ___________________________________________
Enters the story in Scene#___________ Exits the story in Scene#___________
13) The antagonist’s wants to (antagonist’s goal): ____________________________
14) The reason the antagonist is capable of stopping the protagonist is (antagonist’s
secret weapon):______________________________________________________
15) But in the end the antagonist is unsuccessful because of (antagonist’s character
flaw):______________________________________________________________
16) The antagonist fails in his goal and (antagonist point of change if there is one or his disposition at the end: changed, dead, locked up, free to strike again):
__________________________________________________________________
Tune in next week as we continue to build our story skeleton.
For more about how to craft plots using conflict check out, Story Building Blocks: The Four Layers of conflict available in print and e-book and check out the free tools and information about the series on my website.
We have picked a subgenre, developed external scenes that affect the story world, antagonist scenes where the hero and evil face off, and interpersonal scenes where friends and foes help and hinder.
Internal Conflict scenes are where the protagonist debates his belief in ghosts or wrestles with his depression over the death of his mother.
The scientist wonders if he should finally ask his co-researcher out for a date.
He struggles with whatever force is driving him to kill the monster or prove that aliens are out there.
These scenes are sometimes missing in the horror story, unless it is psychological horror. Personal stakes and character change enrich any story.
Whatever his internal struggle is, it should make solving the overall story problem difficult, if not impossible.
For more information on the Horror genre, visit http://www.horror.org.
For more about how to craft plots using conflict check out, Story Building Blocks: The Four Layers of conflict available in print and e-book and check out the free tools and information about the series on my website.
We've selected a subgenre, created external scenes and antagonist scenes. Now let's take a look at how the friends and foes complicate the situation.
Interpersonal Conflict scenes are where the protagonist consults a priest about banishing the demon.
He learns from the librarian that all ghosts have unfinished business.
His buddy tells him he is crazy for believing in ghosts in the first place.
This is usually where they learn the monster’s Achilles heel.
The hero finds someone to let him into the witch’s castle.
People will encourage him to stay and fight and some will beg him to flee.
Some people will act for him or against him.
Next week, we'll finish up with internal conflict scenes.
For more about how to craft plots using conflict check out, Story Building Blocks: The Four Layers of conflict available in print and e-book and check out the free tools and information about the series on my website.
You've chosen the subgenre and developed ten scenes dedicated to the impact the evil has on the entire story world.
Antagonist Conflict scenes depend on what kind of antagonist you have chosen. There can be a person or an entity that embodies the horror they are confronting.
A dire threat like a virus is better if there is someone who wants the virus to run its course. I am reminded of a film that I saw called The Happening. Even though it was directed by one of my favorites, M. Night Shyamalan, the antagonist was a breeze that killed people and wasn’t really menacing enough. There were no clear stakes in the game either. The horror was caused by spores from trees carried on the wind. The deaths were random. Random isn’t as effective as intentional.
In these scenes, the evil and the protagonist face off with each other.
In these scenes, the protagonist comes into contact with the ghost and asks the ghost why it is haunting the house. The evil entity attempts to kill but misses the hero.
These scenes can also follow the evil entity.
The antagonist POV is rarely followed in this genre, but if your verbal camera is following the antagonist, this is the place to do it.
The object of horror’s motivation is rarely examined. You see the vampire creeping toward the sleeping girl because you know vampires suck blood. The sea monster slithers down a city street from the manhole and will eat people, because that is what monsters do. The serial killer kills because he must. We rarely follow the swamp monster as he goes about his swampy day. That’s not to say you can’t. If the antagonist is a person or represented by a person, you can follow them in these scenes and explore their agenda.
These scenes are a direct confrontation with the horror that has been unleashed. The verbal camera narrows its focus to the protagonist and the source of the horror facing off or the person or entity enacting their agenda.
Next time, we'll look at interpersonal conflict scenes.For more about how to craft plots using conflict check out, Story Building Blocks: The Four Layers of conflict available in print and e-book and check out the free tools and information about the series on my website.<
External Conflict scenes follow the effects of the evil on the entire cast or story world.
The intent of these scenes is to scare the pants off of your readers. You have to confine them, torture them with something suspected but just out of sight. The menace has to be believable and constitute a mortal threat to one, some or all. Panic rises. Suspicion shifts.
In these scenes, the protagonist and/or victims are chased down a dark corridor, finds the journal with the ghost’s picture, or searches the library for who used to own the creepy house. They get locked in the cellar by the demon as the house goes up in flames.
In the final external scenes, the threat is removed, unless it is banished to return in the sequel.
List ten scene ideas for how the protagonists and the rest of the cast confront the evil, gain ground, lose, then win (or lose?).
For more about how to craft plots using conflict check out, Story Building Blocks: The Four Layers of conflict available in print and e-book and check out the free tools and information about the series on my website.
No story makes your skin crawl more than the horror story. The horror story takes suspense to a higher, usually more explicit, level and generally contains more graphic material than the Thriller.
The overall story problem in this genre is a mortal threat to an individual or group. Therec can be a mystery at the heart of it, but it is separate from the mystery genre.
Antagonists include the abnormal and paranormal: ghosts, zombies, vampires, serial murderers, killer sharks, giant spiders, viruses, vampires, werewolves or clowns. The antagonist must be nearly impossible to beat and to fail means death.
The reader expects to be not only thrilled and anxious, but horrified and you need to start from page one. You can start slow and build on the horror, but true fans won’t appreciate a slow, horror-free build-up to a final, horrible truth.
The point of the Horror story is to make the readers squirm, scream, and confront their fears either individually or as a group. The fears can be everyday things such as fear of being alone, of the dead, of the unknown, or of the dark. The horror genre magnifies our fears so we can examine them safely.
There must a sense of being trapped in a room, a house, a town, or on a planet that you can’t escape and therefore must turn and face the threat. It’s scariest if the reader doesn’t know where the threat is hiding or where it will strike next. It’s that feeling of “there’s something in the dark, I can’t see it, how can I protect myself from it?” that preys on our elemental fear of being defenseless.
It can also be the “who will die next” plot.
The reader asks: What brought the danger near and how will they get away from it?
There are several subgenres of horror from suspenseful to gruesome.
Alien Horror takes Science Fiction to a darker place. The source of the horror is either on another planet or something brought to Earth from outer space.
Creepy Kids Horror features children who turn out to be evil, possessed by demons or Satan himself.
Erotic Horror features explicit content: sadomasochism, torture, the dark side of sexuality and the sex trade.
Extreme Horror contains explicit violence and is often a “who dies first plot” with no real rhyme or reason other than to kill the victims off in horrendous fashion.
Holocaust Horror contains mass deaths, either in the past or future. They can be due to human slaughter, a rogue virus, monsters, zombies, etc. They are often dystopian or post-apocalyptic settings.
Humorous Horror combines the horror structure with the comedy structure. It is scary, but also funny.
Mind Control Horror plays on our fear of not being in control – especially of our own minds. The mind can be taken over via sorcery or via technology. Victims are forced to act against their will and nature and are horrifying aware of it – unlike a mindless zombie.
Noir Horror uses a gritty, urban setting with cynical protagonists who must fight the horror facing himself or everyone.
Paranormal Horror features a mortal protagonist who must fight off immortal or supernatural threats. These include exorcist tales, possession, ghosts or demons.
Psychological Horror keeps the verbal camera in tight focus on the protagonist. He and the audience are kept in the dark. They aren’t certain what they are fighting until the end. This subgenre can also follow the evil or insane protagonist such as a serial killer, where the protagonist actually turns out to be the antagonist.
Rampant Technology Horror examines our fears that man has gone too far in their technology or achievements. It can feature monster toasters or robots that kill. It can be the ghost in the machine or the machine that steals your soul.
Satanic Bargain Horror features a protagonist who strikes a deal with the devil, like Dorian Gray. They end up paying a horrible price for their decision.
What are your favorite horror subgenres? Can you think of others?
You can learn more about the genre through Horror Writers Association at http://horror.org/
You can join their group on Facebook group at https://www.facebook.com/groups/Horrorwritersassoc/.
For the month of October, we will examine story building block layers as they pertain to the horror genre.
For more about how to craft plots using conflict check out, Story Building Blocks: The Four Layers of conflict available in print and e-book and check out the free tools and information about the series on my website.
Physical obstacles prevent movement, communication, access to a person, the retrieval of an object, and necessary exchanges.
Physical distance prevents access which increases tension.
Time limits put the tension level at full throttle.
These are the types of action scenes that leave your readers biting their nails. The harder the task, the greater the anxiety level for the reader.
1. A physical barrier, like having to break into a safe or out of a cell.
This is a key tool in every genre from thriller t0 romance. Yes, romance. In the Outlander series, there are numerous times when Jamie and Claire must rescue one another from captors. And what is a heist movie without obstacles to the theft?
2. A situational barrier, such as trying to enter an area that is off limits.
Whether you character succeeds through sweet talk or stealth, waiting for them to get past this barrier can be funny, thrilling, or heartbreaking.
3. Physical restraints, like being stuck inside a car, plane, or train.
Or trying to break free from handcuffs or a straight jacket. Your character does not have to be a magician to use this tool. They can be tied up or boxed in. Everyone can relate to the need to escape.
4. Missing the target whether it is a boat, train, airplane, or opportunity.
This is another situation your audience can relate to. The nearer the miss, the higher the tension. Will they get another chance or have to find another way?
5. Limited mobility due to a temporary or permanent physical disability.
Self-healing thriller characters aside, when your character is shot, stabbed, or otherwise hobbled, they will have difficulty doing what comes next.
6. Misunderstanding the time frame involved or being given an impossible timeline.
The ticking clock is arguably the most intense tool in the tension toolkit. There must be an "or else" for it to work properly. Nothing is worse than setting a ticking time bomb that doesn't go off.
7. Physical distances that make accomplishing the task difficult or impossible.
Whether you character has to traverse a hall, a flight of stairs, an eighty-story building, or rush from country to country, your readers feed on the the adrenaline rush your character experiences as he tries to accomplish the impossible.
8. Being misled about the correct destination.
Friend or foe, antagonist or love interest, missing the bus gives your readers a feeling of let down. They can relate to that moment when you realize you've taken the wrong turn, the wrong plane, or walked into the wrong bar.
9. Not being able to touch.
Truly, nothing is more agonizing than watching characters who desperately want to touch each other being kept apart. It can be lovers who are forbidden to love, or a mother reaching for a child who is slipping through her hands, literally or figurative. It can be the grieving loved one trying to reach the dead or dying. This tool can gut your reader or fill them with longing.
10. Different places or times.
This tool works best in the science fiction and fantasy realms where characters are literally worlds or time periods apart. From Diana Gabaldon's Outlander series to the movie Somewhere in Time, nothing keeps people apart more effectively than being in different eras. Your characters can be placed in different planets, starships, or fairy realms. Your readers will hang on to find out how they resolve these great distances.For more about how to craft plots using conflict check out, Story Building Blocks: The Four Layers of conflict available in print and e-book and check out the free tools and information about the series on my website.
Our February workshop is now open! We'll take the first five Middle Grade, Young Adult, or New Adult entries that meet all guidelines and formatting requirements. Click here to get the rules. I will post when it opens and closes on Adventures in YA Publishing and on twitter (@etcashman), with the hashtag #1st5pages. In addition to our wonderful permanent mentors, we have author Brian Katcher and agent Christa Heschke!
So get those pages ready - we usually fill up in under a minute - and good luck!
Erin
Our February workshop opens today at noon, EST. We'll take the first five Middle Grade, Young Adult, or New Adult entries that meet all guidelines and formatting requirements. Click here to get the rules. I will post when it opens and closes on Adventures in YA Publishing and on twitter (@etcashman), with the hashtag #1st5pages. In addition to our wonderful permanent mentors, we have author Brian Katcher and agent Christa Heschke!
So get those pages ready - we usually fill up in under a minute!
February Guest Mentor – BRIAN KATCHER
Brian, a Stonewall Book Award-winning author, is the author of THE IMPROBABLE THEORY OF ANA AND ZAK, ALMOST PERFECT, EVERYONE DIES IN THE END, and PLAYING WITH MATCHES. Brian’s worked as a fry cook, a market researcher, a welding machine operator, a telemarketer (only lasted one day), and a furniture mover. He lived on an Israeli military base one summer, and once smuggled food into Cuba. When he’s not writing, he works as a school librarian. He lives in central Missouri with his wife and daughter.
THE IMPROBABLE THEORY OF ANA AND ZAK
The Improbable Theory of Ana and Zak is Stonewall Book Award-winning author Brian Katcher’s hilarious he said/she said romance about two teens recovering from heartbreak and discovering themselves on an out-of-this-world accidental first date.
It all begins when Ana Watson's little brother, Clayton, secretly ditches the quiz bowl semifinals to go to the Washingcon sci-fi convention on what should have been a normal, résumé-building school trip.If slacker Zak Duquette hadn't talked up the geek fan fest so much, maybe Clayton wouldn't have broken nearly every school rule or jeopardized Ana’s last shot at freedom from her uptight parents.
Now, teaming up with Duquette is the only way for Ana to chase down Clayton in the sea of orcs, zombies, bikini-clad princesses, Trekkies, and Smurfs. After all, one does not simply walk into Washingcon.
But in spite of Zak's devil-may-care attitude, he has his own reasons for being as lost as Ana-and Ana may have more in common with him than she thinks. Ana and Zak certainly don’t expect the long crazy night, which begins as a nerdfighter manhunt, to transform into so much more…
Purchase it at your local bookstore, or
online. And add it to your shelf on
Goodreads!February Guest Agent –
CHRISTA HESCHKE
Christa started in publishing as an intern at both Writers House and Sterling Lord Literistic, where she fell in love with the agency side of publishing. Christa has been at McIntosh and Otis, Inc. in the Children's Literature Department since 2009 where she is actively acquiring for all age groups in children’s. For YA, she is especially interested in contemporary fiction, thriller/mystery, and horror. She is always on the lookout for a compelling voice combined with a strong, specific hook that will set a YA novel apart in its genre and the flooded market. She is open to all types of middle grade and especially enjoys adventure, mystery, and magical realism, whether in a voice that is more light and humorous or one with more of a timeless, literary feel. For both YA and MG, she is particularly interested in unique settings and cultural influences, interesting storytelling structure, complicated romances, diverse characters, sister or friendship-centric stories, and stories that feature artists of any kind.
Our February workshop will open for entries on Saturday, February 6 at noon, EST. We'll take the first five Middle Grade, Young Adult, or New Adult entries that meet all guidelines and formatting requirements. Click here to get the rules. I will post when it opens and closes on Adventures in YA Publishing and on twitter (@etcashman), with the hashtag #1st5pages. In addition to our wonderful permanent mentors, we have author Brian Katcher and agent Christa Heschke!
February Guest Mentor – BRIAN KATCHER
Brian, a Stonewall Book Award-winning author, is the author of THE IMPROBABLE THEORY OF ANA AND ZAK, ALMOST PERFECT, EVERYONE DIES IN THE END, and PLAYING WITH MATCHES. Brian’s worked as a fry cook, a market researcher, a welding machine operator, a telemarketer (only lasted one day), and a furniture mover. He lived on an Israeli military base one summer, and once smuggled food into Cuba. When he’s not writing, he works as a school librarian. He lives in central Missouri with his wife and daughter.
THE IMPROBABLE THEORY OF ANA AND ZAK
The Improbable Theory of Ana and Zak is Stonewall Book Award-winning author Brian Katcher’s hilarious he said/she said romance about two teens recovering from heartbreak and discovering themselves on an out-of-this-world accidental first date.
It all begins when Ana Watson's little brother, Clayton, secretly ditches the quiz bowl semifinals to go to the Washingcon sci-fi convention on what should have been a normal, résumé-building school trip.If slacker Zak Duquette hadn't talked up the geek fan fest so much, maybe Clayton wouldn't have broken nearly every school rule or jeopardized Ana’s last shot at freedom from her uptight parents.
Now, teaming up with Duquette is the only way for Ana to chase down Clayton in the sea of orcs, zombies, bikini-clad princesses, Trekkies, and Smurfs. After all, one does not simply walk into Washingcon.
But in spite of Zak's devil-may-care attitude, he has his own reasons for being as lost as Ana-and Ana may have more in common with him than she thinks. Ana and Zak certainly don’t expect the long crazy night, which begins as a nerdfighter manhunt, to transform into so much more…
Purchase it at your local bookstore, or
online. And add it to your shelf on
Goodreads!February Guest Agent –
CHRISTA HESCHKE
Christa started in publishing as an intern at both Writers House and Sterling Lord Literistic, where she fell in love with the agency side of publishing. Christa has been at McIntosh and Otis, Inc. in the Children's Literature Department since 2009 where she is actively acquiring for all age groups in children’s. For YA, she is especially interested in contemporary fiction, thriller/mystery, and horror. She is always on the lookout for a compelling voice combined with a strong, specific hook that will set a YA novel apart in its genre and the flooded market. She is open to all types of middle grade and especially enjoys adventure, mystery, and magical realism, whether in a voice that is more light and humorous or one with more of a timeless, literary feel. For both YA and MG, she is particularly interested in unique settings and cultural influences, interesting storytelling structure, complicated romances, diverse characters, sister or friendship-centric stories, and stories that feature artists of any kind.
Our February workshop will open for entries on Saturday, February 6 at noon, EST. We'll take the first five Middle Grade, Young Adult, or New Adult entries that meet all guidelines and formatting requirements. Click here to get the rules. I will post when it opens and closes on Adventures in YA Publishing and on twitter (@etcashman), with the hashtag #1st5pages. In addition to our wonderful permanent mentors, we have author Brian Katcher and agent Christa Heschke!
February Guest Mentor – BRIAN KATCHER
Brian, a Stonewall Book Award-winning author, is the author of THE IMPROBABLE THEORY OF ANA AND ZAK, ALMOST PERFECT, EVERYONE DIES IN THE END, and PLAYING WITH MATCHES. Brian’s worked as a fry cook, a market researcher, a welding machine operator, a telemarketer (only lasted one day), and a furniture mover. He lived on an Israeli military base one summer, and once smuggled food into Cuba. When he’s not writing, he works as a school librarian. He lives in central Missouri with his wife and daughter.
THE IMPROBABLE THEORY OF ANA AND ZAK
The Improbable Theory of Ana and Zak is Stonewall Book Award-winning author Brian Katcher’s hilarious he said/she said romance about two teens recovering from heartbreak and discovering themselves on an out-of-this-world accidental first date.
It all begins when Ana Watson's little brother, Clayton, secretly ditches the quiz bowl semifinals to go to the Washingcon sci-fi convention on what should have been a normal, résumé-building school trip.If slacker Zak Duquette hadn't talked up the geek fan fest so much, maybe Clayton wouldn't have broken nearly every school rule or jeopardized Ana’s last shot at freedom from her uptight parents.
Now, teaming up with Duquette is the only way for Ana to chase down Clayton in the sea of orcs, zombies, bikini-clad princesses, Trekkies, and Smurfs. After all, one does not simply walk into Washingcon.
But in spite of Zak's devil-may-care attitude, he has his own reasons for being as lost as Ana-and Ana may have more in common with him than she thinks. Ana and Zak certainly don’t expect the long crazy night, which begins as a nerdfighter manhunt, to transform into so much more…
Purchase it at your local bookstore, or
online. And add it to your shelf on
Goodreads!February Guest Agent –
CHRISTA HESCHKE
Christa started in publishing as an intern at both Writers House and Sterling Lord Literistic, where she fell in love with the agency side of publishing. Christa has been at McIntosh and Otis, Inc. in the Children's Literature Department since 2009 where she is actively acquiring for all age groups in children’s. For YA, she is especially interested in contemporary fiction, thriller/mystery, and horror. She is always on the lookout for a compelling voice combined with a strong, specific hook that will set a YA novel apart in its genre and the flooded market. She is open to all types of middle grade and especially enjoys adventure, mystery, and magical realism, whether in a voice that is more light and humorous or one with more of a timeless, literary feel. For both YA and MG, she is particularly interested in unique settings and cultural influences, interesting storytelling structure, complicated romances, diverse characters, sister or friendship-centric stories, and stories that feature artists of any kind.
Our February workshop will open for entries on Saturday, February 6 at noon, EST. We'll take the first five Middle Grade, Young Adult, or New Adult entries that meet all guidelines and formatting requirements. Click here to get the rules. I will post when it opens and closes on Adventures in YA Publishing and on twitter (@etcashman), with the hashtag #1st5pages. In addition to our wonderful permanent mentors, we have author Brian Katcher and agent Christa Heschke!
February Guest Mentor – BRIAN KATCHER
Brian, a Stonewall Book Award-winning author, is the author of THE IMPROBABLE THEORY OF ANA AND ZAK, ALMOST PERFECT, EVERYONE DIES IN THE END, and PLAYING WITH MATCHES. Brian’s worked as a fry cook, a market researcher, a welding machine operator, a telemarketer (only lasted one day), and a furniture mover. He lived on an Israeli military base one summer, and once smuggled food into Cuba. When he’s not writing, he works as a school librarian. He lives in central Missouri with his wife and daughter.
THE IMPROBABLE THEORY OF ANA AND ZAK
The Improbable Theory of Ana and Zak is Stonewall Book Award-winning author Brian Katcher’s hilarious he said/she said romance about two teens recovering from heartbreak and discovering themselves on an out-of-this-world accidental first date.
It all begins when Ana Watson's little brother, Clayton, secretly ditches the quiz bowl semifinals to go to the Washingcon sci-fi convention on what should have been a normal, résumé-building school trip.If slacker Zak Duquette hadn't talked up the geek fan fest so much, maybe Clayton wouldn't have broken nearly every school rule or jeopardized Ana’s last shot at freedom from her uptight parents.
Now, teaming up with Duquette is the only way for Ana to chase down Clayton in the sea of orcs, zombies, bikini-clad princesses, Trekkies, and Smurfs. After all, one does not simply walk into Washingcon.
But in spite of Zak's devil-may-care attitude, he has his own reasons for being as lost as Ana-and Ana may have more in common with him than she thinks. Ana and Zak certainly don’t expect the long crazy night, which begins as a nerdfighter manhunt, to transform into so much more…
Purchase it at your local bookstore, or
online. And add it to your shelf on
Goodreads!February Guest Agent –
CHRISTA HESCHKE
Christa started in publishing as an intern at both Writers House and Sterling Lord Literistic, where she fell in love with the agency side of publishing. Christa has been at McIntosh and Otis, Inc. in the Children's Literature Department since 2009 where she is actively acquiring for all age groups in children’s. For YA, she is especially interested in contemporary fiction, thriller/mystery, and horror. She is always on the lookout for a compelling voice combined with a strong, specific hook that will set a YA novel apart in its genre and the flooded market. She is open to all types of middle grade and especially enjoys adventure, mystery, and magical realism, whether in a voice that is more light and humorous or one with more of a timeless, literary feel. For both YA and MG, she is particularly interested in unique settings and cultural influences, interesting storytelling structure, complicated romances, diverse characters, sister or friendship-centric stories, and stories that feature artists of any kind.
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By: Diana Hurwitz,
on 1/15/2016
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Game On! Creating Character Conflict
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16 Characters
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Each mannequin could be male or female. I had to choose pronouns, so I went with the pronoun that matched the greater percentage of gender in each category. He and she can easily translate into masculine, feminine, or androgenous. Sex and sexual orientation do not directly affect personality type, except when it comes to social expectations and how those expectations shape the character.
Everyone has deep-seated needs that serve as currency: the thing that defines their personal carrot and stick. Dangle the right morsel in front of them and they will do anything to get it. Threaten to take it away and they will do anything to keep it.
1. Wynn’s currency is appreciation. She is the worker bee, never the queen. She needs to be needed, to hear “well done” often, and to be thanked for the everyday things she does to keep a life, a workplace, or a planet running smoothly. Telling her that her help isn’t needed or wanted is her trigger.
2. Francis is more interested in being right than being happy. He sees himself as the herd dog keeping everyone in line. He needs people to respect his authority and opinions. All is well, as long as people accede to his point of view and decisions. Call him wrong or question his authority and the fight is on.
3. Nevada hates conflict. He sees himself as the shepherd who guides the flock. His currency is appreciation for his dedication to others. He craves loving affirmations for working hard and providing for other people. Calling him selfish or telling him his efforts are misguided starts a fire.
4. Arden’s currency is gratitude and appreciation for his integrity. As long as people respect him and appreciate his hard work, things go smoothly. Tell him his assistance isn’t needed or question his intentions and the game is on.
5. Blair’s currency is affection and admiration. If she isn’t consistently praised, she deflates. Telling her she is anything but perfection or that she hasn't done anything to earn praise makes her an enemy.
6. Dallas wants to be adored for being the life of the party. She values her sense of fun and adventure. Telling her the party is over or to get serious and she will make your life hell.
7. Hadley wants to be adored for breathing. She wants everyone to be happy. Since she is generally agreeable and good-natured, people usually comply. If the adoration fades, trouble sets in.
8. Shelby wants to be honored and respected. She is a team player. As long as people treat her like a valued member of the team, family, or planet, things are fine. Questioning her character is a call to war.
9. Joss craves recognition for his intelligence and skill. He's the typical silent maverick. He is usually admired in the short-term. His derring-do draws people in, but eventually drives them off. Question his competence and you’ll like find yourself in the crosshairs of his sniper scope.
10. To Kelly, all the world is a stage and he is the main attraction. He is the ultimate game player and always wins. Never accuse him of being a loser or make him sit on the sidelines.
11. Greer is the ultimate reclusive genius. He wants recognition for his competence. Since he is usually competent, he receives it. When he forgets to take care of things he does not consider important or his efforts are misdirected, his competence might be questioned and the fight is on.
12. Taylor is the ultimate organizer or volunteer. She wants to be appreciated for her goodness and service. She usually is, unless her efforts become toxic.
13. Cam wants to be admired for his intelligence and competence. He is the deep thinker of the group. People usually admire that about him. Question his competence or his research and the fight is on.
14. Morgan also wants to be admired for his intelligence and competence. He is the ultimate thrill-seeking gambler. When his sometimes reckless behavior makes those traits questionable, the game is afoot.
15. Lee is the take control steamroller of the group. Lee wants to be top dog. Things are fine as long as her rules are obeyed. When she steamrolls the wrong person or is demoted, she turns lethal.
16. River is the most spiritual and likely to believe in the paranormal. She wants to be admired for her wisdom and desire for harmony. She is usually admired, unless her desire to be worshipped becomes obsessive or her belief system is too bizarre.
To learn more about the mannequins and how personality types create conflict for your characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict, available in paperback and E-book, and Story Building Blocks: Build A Cast Workbook available in paperback and E-book.
Our January workshop is now open! We'll take the first five Middle Grade, Young Adult, or New Adult entries that meet all guidelines and formatting requirements. Click here to get the rules. I will post when it opens and closes on Adventures in YA Publishing and on twitter (@etcashman), with the hashtag #1st5pages. In addition to our wonderful permanent mentors, we have author Sharon Cameron and agent Laura Crockett!
Good luck! We look forward to reading your pages!
Erin
Our January workshop will open for entries today, at noon, EST. We'll take the first five Middle Grade, Young Adult, or New Adult entries that meet all guidelines and formatting requirements. Click here to get the rules. I will post when it opens and closes on Adventures in YA Publishing and on twitter (@etcashman), with the hashtag #1st5pages. In addition to our wonderful permanent mentors, we have author Sharon Cameron and agent Laura Crockett!
So get those pages ready - we usually fill up in under a minute!
January Guest Mentor –
SHARON CAMERONSHARON CAMERON is the author of
The Dark Unwinding,
A Spark Unseen and
Rook. She was awarded the Society of Children's Book Writers and Illustrators' Sue Alexander Award for Most Promising New Work for
The Dark Unwinding, which was her debut novel. Sharon lives with her family in Nashville, Tennessee, and you can visit her online at
www.sharoncameronbooks.com.
ROOK
History has a way of repeating itself. In the Sunken City that was once Paris, all who oppose the new revolution are being put to the blade. Except for those who disappear from their prison cells, a single, red-tipped rook feather left in their place. The mysterious Red Rook is the savior of the innocent, and a criminal in the eyes of the government.
Meanwhile, in the Commonwealth, Sophia Bellamy’s arranged marriage to the wealthy René Hasard is the last chance to save her family from financial ruin. But when the search for the Red Rook comes straight to the doors of Bellamy House, Sophia discovers that her fiancé is not all he seems. Which is only fair, because neither is she.
Who needs a wedding ring when you can pick up a sword?
Purchase it at your local bookstore, or online at:
January Guest Agent –
LAURA CROCKETTLaura Crockett, an agent at Triada US, is interested in a variety of YA and adult fiction. In YA, she is interested in contemporary realistic fiction (such as study abroad experiences, strong female friendships, falling in love, anxiety and abuse), high and low fantasy, and gothic horror. In adult fiction, she is interested in WWI and WWII historical fiction, gothic horror, neo-Victorian mystery, contemporary women's fiction, and fantasy.
From all of us here at the 1st 5 Pages Workshop - Happy New Year!
Our January workshop will open for entries tomorrow, on Saturday January 2, 2016, at noon, EST. We'll take the first five Middle Grade, Young Adult, or New Adult entries that meet all guidelines and formatting requirements. Click here to get the rules. I will post when it opens and closes on Adventures in YA Publishing and on twitter (@etcashman), with the hashtag #1st5pages. In addition to our wonderful permanent mentors, we have author Sharon Cameron and agent Laura Crockett!
January Guest Mentor – SHARON CAMERON
SHARON CAMERON is the author of The Dark Unwinding, A Spark Unseen and Rook. She was awarded the Society of Children's Book Writers and Illustrators' Sue Alexander Award for Most Promising New Work for The Dark Unwinding, which was her debut novel. Sharon lives with her family in Nashville, Tennessee, and you can visit her online at www.sharoncameronbooks.com.
ROOK
History has a way of repeating itself. In the Sunken City that was once Paris, all who oppose the new revolution are being put to the blade. Except for those who disappear from their prison cells, a single, red-tipped rook feather left in their place. The mysterious Red Rook is the savior of the innocent, and a criminal in the eyes of the government.
Meanwhile, in the Commonwealth, Sophia Bellamy’s arranged marriage to the wealthy René Hasard is the last chance to save her family from financial ruin. But when the search for the Red Rook comes straight to the doors of Bellamy House, Sophia discovers that her fiancé is not all he seems. Which is only fair, because neither is she.
Who needs a wedding ring when you can pick up a sword?
Purchase it at your local bookstore, or online at:
January Guest Agent –
LAURA CROCKETTLaura Crockett, an agent at Triada US, is interested in a variety of YA and adult fiction. In YA, she is interested in contemporary realistic fiction (such as study abroad experiences, strong female friendships, falling in love, anxiety and abuse), high and low fantasy, and gothic horror. In adult fiction, she is interested in WWI and WWII historical fiction, gothic horror, neo-Victorian mystery, contemporary women's fiction, and fantasy.
Our January workshop will open for entries on Saturday January 2, 2016, at noon, EST. We'll take the first five Middle Grade, Young Adult, or New Adult entries that meet all guidelines and formatting requirements. Click here to get the rules. I will post when it opens and closes on Adventures in YA Publishing and on twitter (@etcashman), with the hashtag #1st5pages. In addition to our wonderful permanent mentors, we have author Sharon Cameron and agent Laura Crockett!
January Guest Mentor – SHARON CAMERON
SHARON CAMERON is the author of The Dark Unwinding, A Spark Unseen and Rook. She was awarded the Society of Children's Book Writers and Illustrators' Sue Alexander Award for Most Promising New Work for The Dark Unwinding, which was her debut novel. Sharon lives with her family in Nashville, Tennessee, and you can visit her online at www.sharoncameronbooks.com.
ROOK
History has a way of repeating itself. In the Sunken City that was once Paris, all who oppose the new revolution are being put to the blade. Except for those who disappear from their prison cells, a single, red-tipped rook feather left in their place. The mysterious Red Rook is the savior of the innocent, and a criminal in the eyes of the government.
Meanwhile, in the Commonwealth, Sophia Bellamy’s arranged marriage to the wealthy René Hasard is the last chance to save her family from financial ruin. But when the search for the Red Rook comes straight to the doors of Bellamy House, Sophia discovers that her fiancé is not all he seems. Which is only fair, because neither is she.
Who needs a wedding ring when you can pick up a sword?
Purchase it at your local bookstore, or online at:
January Guest Agent –
LAURA CROCKETTLaura Crockett, an agent at Triada US, is interested in a variety of YA and adult fiction. In YA, she is interested in contemporary realistic fiction (such as study abroad experiences, strong female friendships, falling in love, anxiety and abuse), high and low fantasy, and gothic horror. In adult fiction, she is interested in WWI and WWII historical fiction, gothic horror, neo-Victorian mystery, contemporary women's fiction, and fantasy.
This was originally posted on the Blood Red Pencil, but I thought I’d repost here as a reminder to nurture the writers in your world.
Most writers have seen ads galore for gadgets and gizmos to increase productivity that do anything but. You have undoubtedly received endless pens, paper weights, journals, etc.
Here are a few of my favorite tools that you can ask Santa for this year. If Santa neglects to bring them, treat yourself.
1. Nuance PDF allows you turn documents into PDF documents within Word for Windows: just select Print, Save as PDF, and voila - done.
2. Word Web Pro brings up a dictionary and thesaurus within word with a click of Control-W. It includes pronunciations and usage examples, and has helpful spelling and sounds-like links.
3. Smart Edit goes beyond the many editing tools available in Word for Windows (as outlined in Story Building Blocks III) to make your prose the best it can be before you turn it over to an agent or editor. If you are an independent publisher and can't afford an editor, at least give your manuscript a run through with this tool before hitting upload.
4. Natural Reader reads your work back to you. The readback voice is not the quality that allows you to make an audio book, but it beats reading your manuscript back to yourself. You can purchase additional "voices" beyond the basic two.
5. Serif Web Plus provides website building for the HTML challenged. There is no need to learn code. If you can operate a photo manipulation program, you can build your own website with this user-friendly gem. You can utilize a template or build your own from scratch once you get the hang of it.
6. Interior Templates by Create Space creates a template based on the selected trim size. If you can use Word for Windows, you can modify the template to fit your needs. The pre-calculated gutters and margins keeps your text where it needs to be. You can customize the headers, footers, and fonts.
7. Cover Creator Templates by Create Space allows you to use any photo manipulation program or Adobe Photoshop to create stunning covers. It generates a template based on the trim size and page length.
8. Calibre helps you create an e-book with ease. It supports all the major e-book formats. It can rescale all font sizes, ensuring the output e-book is readable no matter what font sizes the input document uses. It can automatically detect/create book structure, like chapters and Table of Contents. It can insert the book metadata into a "Book Jacket" at the start of the book.
9. Scrivener: there is a learning curve, but it is an excellent way to organize your plot and works perfectly with the Story Building Blocks theory of story structure and character creation.
10. Story Building Blocks Series: learn how to structure a plot, build believable characters, craft believable conflict, and revise like a pro with this set. One fan called it a Cliff-note MFA.
Story Building Blocks: The Four Layers of Conflicts examines the core building blocks for plotting your book and their relationship to the different genres.
Story Building Blocks II: Crafting Believable Conflict introduces you to sixteen character prototypes that can be warped and tortured to create realistic characters your readers will care about. It helps you create psychology-based conflict amongst the cast members of your story.
Story Building Blocks III: The Revision Layers takes you through high-low revision techniques to remove the plot holes and speed bumps from your first draft and basic editing tips so your agent and editor won't cringe while reading it.
Story Building Blocks: Build A Cast Workbook uses the sixteen mannequins from Story Building Blocks II and offers a "fill in the blanks" format to flesh out your cast.
By: Diana Hurwitz,
on 11/20/2015
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Denial is an subconscious defense mechanism. When you ask a two-year old if he took a cookie from the jar (and he knows he will get in trouble for it), he denies it.
Characters deny things for complex reasons: to protect themselves, to protect people they love, to dodge a painful truth, or to deflect blame or suspicion.
When confronted with an internal dilemma or overall story problem, Dick (the protagonist) can choose to accept something or not oppose it at first. He may deny that aliens have landed or that his wife has lost that loving feeling. He may deny that he has cancer. As events unfold, Dick is eventually forced to accept it.
When confronted by information that counters his belief system or faith in someone, a character’s first response is usually denial. Many stories center on his journey as he struggles to accept the truth.
Dick may deny that he is the only one who can stand up to an injustice or a bully, but the overall story problem forces him to do so.
Jane (as antagonist) can see that her plan is failing and refuse to accept it. The reader will be thrilled that she failed.
Dick (as protagonist) can refuse to accept that his cause is lost and push on until he wins. The reader will be elated when he succeeds.
If Jane refuses to believe that Sally is dying, she may plan vacations and purchase air tickets that will never be used. She may insist on trying every far-fetched “miracle cure” on the market while Sally tries to bring Jane back to acceptance that the end is nigh.
Friends and foes chiming in on the issues make the story problem more difficult for the protagonist to succeed and the antagonist to fail. Their own acceptance or denial can create obstacles.
Friends and foes can continue to deny that vampires exist or a friend’s spouse is cheating even when they see the cheaters together.Friends and foes can deny they were at the crime scene, withholding critical information either out of fear or out of malice.
Denial creates conflict and tension as the reader waits for it to resolve. You can use this tactic to drive the story at scene and overall story levels.
To learn how obstacles create conflict for your characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict, available in paperback and E-book.
By: Diana Hurwitz,
on 11/13/2015
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Conscience is that angel sitting on Dick's shoulder that tells him when he is doing something wrong. Conscience makes him feel bad when he does things that are counter to his morals or belief system, or when it registers that he has hurt another person. Empathy goes hand in hand with conscience.
Conscience is the thing within that keeps Dick from lying, cheating, stealing, or killing. It forms the psychological lines that Dick won't cross or the cultural taboos that direct his behavior.
An antagonist doesn’t have to be without conscience. He can truly believe in his cause or plan and at the crisis point realize that he has been doing something wrong. He can know from the beginning that he is doing something wrong, but justify it until the crisis comes along and he can’t anymore. He can exit the stage steadfast in the belief that he was correct.
Shame can serve as strong motivation. Shame creates that burning sensation in the chest. It can make Dick regret something he has done and apologize for it. Lies and betrayals, large and small, can lie heavily on his conscience. Shame can inspire Dick to do something noble to make up for his mistake.
Shame can have the opposite effect. Jane can feel so full of shame that it sends her into a death spiral of low self-esteem that forces her further into addiction or crime. It can so damage her self esteem that she doesn’t see the point in trying to be any different. Trying to drag Jane back to a sense of balance can be impossible.
Shame can create small, subtle conflicts within a psyche, a marriage, a friendship, a social club, or a work group.
Characters can accept blame for things they didn’t do either because their self esteem is low or because they want to protect someone else. They can take responsibility for things they shouldn’t. A crisis of conscience can be a story problem or a story solution. It can be a protagonist’s personal dilemma.
Conscience can drive different characters in different directions. Conscience can send Dick to war and make Jane a conscientious objector.
On the dark side, are characters who lack conscience. Psychopathy and sociopathy are similar disorders. Both are considered antisocial personality disorders. Some consider sociopaths less in control, more anxious and easily agitated and more likely to act up in public. They are often homeless because they can’t do what it takes to live in normal society. A psychopath is considered calmer, more secretive and manipulative. They can be charismatic and charming, hiding their pathology with a veneer of health. They don’t feel remorse or guilt but are aware enough of what the appropriate human responses are that they can mimic them. They both mean trouble and make chilling antagonists. However, they tend to be one-dimensional. An argument could be made that they have been overused.
Characters are rarely one-hundred percent good or evil. Crafting them with shadow and light makes them more interesting. Internal conflict enriches the story. Wrestling with their choices creates tension.
For more about how to craft characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict, available in paperback and E-book and Story Building Blocks: Build A Cast Workbook, available in paperback and E-book.
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