6 Ways To Add Some Conflict Into Your Story

When you find your story starting to lag – throw in a problem

Story Conflicts

So you’ve started writing your story but there are parts that are starting to drag a little. Most times the proper course of action is to simply cut them out altogether. But in reality, it’s often very difficult to make slashes.
You’re certain that these slow points are important and could form the foundation for your entire plot. You believe in your heart that these elements merely need to be refocused or reworked and that cutting them out is wrong. Luckily, there’s an alternative. Let conflict come to the rescue.
Conflict is what makes a story entertaining. If you add the proper elements to your slow points, they won’t be slow any longer.

Here’s six ways to spice things up:

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Setting Your Book’s Hook In One Sentence

Blake Snyder's Save The Cat

Whether you’re writing a book, a screenplay, or a blog post, it’s tempting to just dive into your writing project. You’re probably bursting full of ideas and you’re ready to take off and get going.

However, I think you will find that you will likely save yourself time and frustration, as well as create a better end product if you hammer out a solid premise before you start writing.

Writer James N. Frey defines a story’s premise as the following:

“That single core statement of what happens to the characters as a result of the actions of a story. The foundation of your story

In his book Save The Cat, screenwriter Blake Snyder calls this the logline.  Snyder has been writing screenplays for Hollywood for more than twenty years and the very first thing Snyder says that all screenwriters – and writers in general need to master is the art of “the one-line“.

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Becoming the Writing Reaper – Knowing When To Kill Off A Character

how_to_kill_a_character__infographicRecently, while working on the second book of the Extraordinary Accounts of the Oskaloosa Oddities Society, a developmental editor, who was looking over what I had written, commented that a particular scene would work ten times better if a certain character was killed versus another.  I’m here to tell you, the moment I read her comments, I started sweating profusely

Many writers become quite attached to the characters in their stories. In fact, they’ll never let anything bad happen to them at all. I’m guilty of this myself. I want my characters to triumph. I want them to win. But, as a storyteller I can tell you, this approach is both limiting and dangerous.

Good stories are always about characters caught up in struggle. The darker the struggle, the deeper the pull. The other day I was reading how J.K. Rowling has always maintained that killing off so many “Harry Potter” peeps was a difficult but necessary task: that they had to die in order to move the story forward.

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