As a content editor one of my responsibilities is to determine when conflict crosses the line into unnecessary drama that dilutes the story.
Conflict is necessary in order to support the central theme of the story and to keep the reader engaged. However, authors can unknowingly cross into the danger zone, when drama becomes the constant that: 1) Does not move the story along; 2) Occurs with no feasible reason (just there for the ‘drama factor’; and 3) Occurs so often that if it is removed, there is no real story.
The fiction author’s job is to engage, inform and entertain their reader. Pacing is the key in order to maintain interest. Fleshing out the characters and the feasibility of the plot is equally important. In doing so you should be moved, at the least, to research the character’s: 1) Strength and weaknesses; 2) Temperament; 3) Habits (good and bad) and 4) Worldview.
Armed with this information you apply it to the central theme. Ask yourself how these characters effectively fit into that theme and how do you keep them true to who you have built them to be. Build on the conflict that comes with working through the plot in your mind, on paper and with others. In doing so it will give you a clear view of how to arrive at your destination.
Please note, you DO want to engage the reader with some drama, but not so much that it overshadows the intent of the story. Below are two examples of works with drama. You determine which is feasible.
Example: Boy meets girl. Boy and girl fall in love. Something from one or the others’ past comes to light. Couple separates. In the interim scenarios or someone or both strives to keep them apart. They overcome obstacles and learn from whatever it is the book was set up for them to achieve.
Example Two: Boy meets girl. Boy and girl fall in love. Something from their past comes to light. Couple separate. Everything under the sun from, high-speed car chases, fist fights, a carjacking, baby mama drama and two or three added lovers, make their way onto the pages. Add to that an ending that ties up no loose ends and/or makes any sense and you have the too much drama factor.
Now before you ask the question allow me to answer it. You can have a fair amount if not all of the elements above incorporated into your story and still make it a winner. It’s all in the presentation. Think through how this could possibly happen without using vague, non-supportive reasoning to justify the ending and leave the reader scratching their heads.
I hope this has been helpful to you all. I’m looking forward to discussing and hearing your views. So as always, until next time – Use your words to bear good fruit.
Linda!
So Linda, when can we expect to see "The Beed Guide To Effective Story-Telling"? You are quite a teacher and writers on every level can learn something from these tidbits you serve up.
ReplyDeleteI thought I was the only one up this time of the morning. LOL
ReplyDeleteThe answer to your question is -- I'm working on it.
Have a blessed day - Linda!
Linda, this was great and informative especially since I'm the author of 2 drama filled short stories. Thanks for keeping me focused!
ReplyDeleteLinda, thanks for the good advice. This is a good reminder.
ReplyDeleteLet it be known that conflict is the essence of drama, and two types usually determine content and context: Internal drama and External drama -- without either, your story will drag and lose structure. Let's briely look at both in a nutshell. Internal drama simply is character growth... the dilemma facing the character innately, and its impact on that character -- it's all about emotion here. Internal conflict adds meaning and complexity to the external conflict, but it's the external conflict that forces a character to make internal choices and changes. And the key to a story’s tension is how the author chooses to involve the character to show idiosyncratic behavior. Enter the Antagonist. His presence usually heightens the conflict...and depending on how the character is written in the story will allow choices for that character throughout the story. Which will it be? What will be the fallout? For readers to care about a story and how it flows, the choices and the resolution must have consequences for the main character. Too much filler or text will kill the best story, and THIS is where authors need to trread a bit cautiously.
ReplyDeleteIn a nutshell all this means is to make sure you have as much tension as possible and not go overboard spending too much time on one scene, setting or wasting subtextual content. The best stories are those that can bridge the gaps between ennui and how the story moves for continuity. Authors would do best by understanding that there are all types of tension that would fuel their stories without overdoing it. It's not about making everything horrible for your character, but he/she has to have obstacles in the way of what he/she wants. That's called "raising the stakes" and it just means that whatever predicament you have for your character, it should be with balance tinged with intrigue. This is what keeps readers' interested. Tension should be in every scene, it should be where decisions are to be made that would bolster the next scene!
Rosa you are too funny. I'm glad that this was of help to you.
ReplyDeleteLinda!
You're more than welcome Ms. Shelia. Thank you for stopping by.
ReplyDeleteLinda
I love this Alvin, raising the stakes...it just means that whatever predicament you have for your character, it should be with balance tinged with intrigue."
ReplyDeleteThank for your insight - Linda!
Well said Linda! A little well-placed tension/drama can make a good book great, but too much drama and you have the Jerry Springer show in paperback form. We authors (as well as both independent and traditional publishers) definitely need to learn the difference.
ReplyDeleteVery well put Mr. Gray. Thank you for adding your flavor to the discussion
ReplyDeleteLinda!