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Showing posts with label Conflict. Show all posts
Showing posts with label Conflict. Show all posts

Monday, August 5, 2024

Ad Hominem Attacks on Your Protagonist: Crafting Conflict Through Character


Ad Hominem Attacks on Your Protagonist: Crafting Conflict Through Character By Olivia Salter


In the realm of fiction writing, conflict is the heartbeat of a compelling narrative, and one of the most effective ways to introduce conflict is through the use of ad hominem attacks directed at your protagonist. These personal attacks not only serve to challenge your main character but also deepen the reader's engagement and investment in the story.


Understanding Ad Hominem Attacks


Ad hominem, a Latin term meaning "to the person," refers to a fallacy in argumentation where an attack is made on an individual's character rather than addressing the argument or issue at hand. In fiction, this translates to characters undermining your protagonist's credibility, morality, or capability through insults or personal accusations. Such attacks can be verbal, as in heated arguments, or implicit, conveyed through gossip and societal judgment.


Establishing Conflict and Tension


When your protagonist faces ad hominem attacks, it creates immediate tension and stakes. These attacks can arise from various sources: antagonists aiming to undermine the protagonist’s confidence, peers who feel threatened by their abilities, or even allies who express doubt in a moment of vulnerability. This tension can lead to significant character development, as your protagonist must confront their flaws, insecurities, and the perceptions of others.

For example, in a workplace drama, a character might face criticism from a co-worker who questions their competence based on a past mistake rather than their current performance. This not only creates conflict but provides an opportunity for the protagonist to demonstrate growth and resilience in the face of adversity.


Developing Character Depth


Ad hominem attacks also serve to enrich character depth. By exploring how your protagonist reacts to these attacks, you reveal their true nature, motivations, and vulnerabilities. Do they crumble under pressure, or do they rise to the challenge? This exploration can lead to powerful moments of self-discovery and transformation.

Additionally, these attacks can serve to illuminate the values and flaws of other characters. If a character resorts to ad hominem attacks, it may reveal their own insecurities and unaddressed issues, creating a layered dynamic between characters and enriching the narrative.


Encouraging Reader Empathy


When readers witness your protagonist enduring personal attacks, they often feel a sense of empathy and connection. These moments can evoke sympathy, drawing readers closer to the character as they navigate the turmoil. By portraying the protagonist's struggles, you invite readers to experience their journey authentically, fostering a deeper emotional investment in the story.


Conclusion: Weaving Ad Hominem Attacks into Your Narrative


Incorporating ad hominem attacks into your narrative can be a powerful tool for developing conflict, depth, and reader engagement. By carefully crafting these moments, you can challenge your protagonist while also providing opportunities for growth and resilience. Remember, the goal is not just to create conflict for conflict's sake but to use it as a means of exploring character and driving the narrative forward. Embrace the complexity of human interaction, and watch your story come alive as your protagonist confronts adversity head-on.


Also see:

Writing Craft: Ad Hominem Attacks on Your Protagonist (Advanced Fiction Writing)

 

Advanced Fiction Writing by Randy Ingermanson


Craft: Ad Hominem Attacks on Your Protagonist



by Randy Ingermanson


Advanced Fiction Writing 

The protagonist of your novel is going to face obstacles. A lot of obstacles. Of all different types. 

The exact kinds of obstacles will depend on what kind of novel you’re writing. This month, we’ll talk about one particular kind of obstacle that most of us face often in real life. But I can’t recall ever seeing it discussed before in a book on fiction writing.

This particular obstacle is called an “ad hominem” attack.

What’s an Ad Hominem Attack?

Rather than tell you, I’ll show you by giving an example. If you took geometry in high school, then you learned something called the “Pythagorean theorem.” This is a theorem about triangles that is said to have been first proved by Pythagoras, a Greek mathematician who lived in the sixth century BC. 

We don’t know who actually discovered this theorem, but let’s pretend it really was Pythagoras, as the legends say. Let’s imagine that he wanted to tell his friends about it. And let’s pretend that his friends threw up all sorts of objections to his new theorem. Here’s how the dialogue might have gone:

Pythagoras: “I’ve discovered this amazing theorem. Take any right triangle on a plane. If you add up the squares of the lengths of the two short sides, you get the same number as the square of the length of the long side.”

Friend 1: “Your theorem is false because you’re an Egyptian, and all Egyptians are idiots.”

Pythagoras: “I’m not an Egyptian! But even if I was, that has nothing to do with whether my theorem is true.”

Friend 2: “Your theorem is false because you’re a Greek, and all Greeks are liars.”

Pythagoras: “Yes, I’m a Greek, but that still has nothing to do with whether my theorem is true.”

Friend 3: “Your theorem is false because you are gullible and easily fooled into believing false theorems.”

Pythagoras: “Even if I were gullible, you would still have to prove my theorem is false. Gullible people can believe true things.”

Friend 4: “Your theorem is false because you have a bad motive. You always wanted to become famous by discovering some deep mathematical theorem.”

Pythagoras: “Yes, I’ve always wanted to become famous by discovering some deep mathematical theorem, and now I will because my theorem is very deep and it’s also true. A theorem does not become false merely because I have impure motives.”

Friend 5: “Your theorem is false because you have a bad motive. You hope to use this theorem to short-weight your scales so you can cheat your customers.”

Pythagoras: “No, that’s a lie. But I won’t waste time refuting your malicious attack, because your lie is irrelevant. A theorem does not become false merely because I have impure motives. But your lie tells me something about how your mind works—your first reaction to my theorem is to tie it in to cheating people. I won’t be buying figs from you in the future.”

Friend 6: “Your theorem is false because you believe in transmigration of souls, which is a stupid idea. If you were wrong once, you are wrong every time.” 

Pythagoras: “I might be wrong on transmigration of souls and still be right about my theorem. Being wrong once does not prove I am wrong every time. Just look at the proof of my theorem and you must agree it’s true.”

Friends 1, 2, 3, 4, 5, and 6: “We don’t have to look at your proof because we already gave good arguments that your theorem is false.”

Pythagoras: “All your arguments are arguments against ME, rather than arguments against my theorem. Your arguments are irrelevant. My theorem stands on its own, whether I’m flawed or not.”

And that’s the nature of an ad hominem attack. “Ad hominem” is Latin for “to the man” and it means that an argument is aimed at a person, rather than being aimed at what the person is saying.

Each of the friends chose a different kind of ad hominem attack on Pythagoras. Some of their attacks were actually true. Some were false. But it doesn’t matter whether an ad hominem attack is true or false, because it’s irrelevant to the question of whether the actual theorem is true or false. 

A theorem is true or false on its own merits. A person’s national origin, personality traits, motives, and past history have NOTHING to do with the theorem’s truth.

What Does This Have to Do With Fiction?

Ad hominem attacks are one way of deflecting an argument away from ideas. An ad hominem attack throws mud on a person, with the hope of also throwing mud on that person’s ideas. And fiction often involves exactly that.

Are you writing a murder mystery? There’s an objective question to be answered here—which suspect is the killer? The detective needs to answer that question. When the detective starts getting close, he or she is likely to be hit with an ad hominem attack to deflect attention from the facts.

Are you writing a legal thriller? The defendant is either guilty or innocent. That’s the objective question to be answered. The defendant’s lawyer may be getting paid lots of money to defend the client. The lawyer may be grandstanding to make a name for himself. Those aren’t great motives, but they don’t prove the defendant is guilty. If the prosecutor has a weak case, they may make an ad hominem attack to muddy the defense in the jury’s eyes.

Are you writing a spy novel or a political thriller or a military novel? Your protagonist will face hard questions. Getting the wrong answer will have huge consequences. There is a right answer and a wrong answer, even if nobody knows which is which. Your protagonist is (hopefully) trying to find the right answer. And on his way, it’s very likely that he’s going to get hit with ad hominem attacks. 

The reason ad hominem attacks are common in real life is because they’re easy. And because they work.

Dealing With an Ad Hominem Attack

How is your character supposed to deal with an ad hominem attack?

It’s very natural to get angry when somebody goes ad hominem on you. It’s natural, but it doesn’t solve the problem.

I’ve seen ad hominem attacks many times over the years, sometimes coming at me and sometimes directed at other people. There’s a wrong way and a right way to answer them.

The wrong way is to fight fire with fire. If somebody makes an ad hominem attack on you, you can’t respond with an ad hominem attack back on them. That’s lame and drags you down to their level and it confuses the issue.

The right way is to unconfuse the issue. There are three steps to this:

  1. Start by saying clearly that they’ve made an ad hominem attack. You may have to define what ad hominem means, because not everybody knows this term.
  2. Then point out that ad hominem attacks are just a way of deflecting the argument from logic and evidence. It’s a sign that the other guy’s case is weak. But it’s not proof the other guy is wrong. The only way to prove the other guy is wrong is to go back to logic and evidence. 
  3. Then go back to logic and evidence and make your case. (If the only thing you can say is that the other guy is making an ad hominem argument, then you yourself have fallen into an ad hominem argument. But if you also have logic and evidence on your side, then pointing out that the other guy has gone ad hominem is the only practical way to get things back on track.)

This actually works in real life. And it works in fiction. It works in fiction BECAUSE it works in real life.

Fiction is all about conflict, and conflict isn’t always a fair fight. I’m hoping your protagonist fights fair, but I’m guessing your villain doesn’t. Which makes ad hominem attacks a very useful tool for adding conflict to your fiction. 

Homework

Think of a time in your own life when someone used an ad hominem attack against you. 

How did it feel? That’s how your characters should feel when they come under a personal attack.

Why was the ad hominem attack irrelevant? Were you able to explain at the time why it was irrelevant? Did you eventually bring the argument back to logic and evidence?

Think of a time in your own life when you used an ad hominem attack on someone else. (Not trying to make you feel guilty here, but the odds are good that you’ve done it. Most people have. It’s only human.)

Why did you sink to that level? Did you know at the time that your attack was irrelevant? Did it work anyway? How do you feel about it now? That’s how your villains might feel when they make a personal attack on the protagonist in your novel.


Also see:




About The Author

Randy Ingermanson
Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.
 
 

Monday, July 15, 2024

The Art of Dramatic Writing, by Lajos Egri, Foreword by Olivia Salter

 


 

The Art of Dramatic Writing

 

by Lajos Egri

 

Foreword by Olivia Salter

 


FOREWORD


In "The Art of Dramatic Writing," Lajos Egri delves deep into the heart of storytelling, exploring the essential role that conflict plays in creating compelling narratives. Drawing on his extensive experience as a playwright and teacher, Egri provides writers with invaluable insights and techniques for crafting stories that resonate with readers and stand the test of time.

Egri's principles of writing conflict emphasize the importance of establishing clear goals and motivations for characters, incorporating internal conflicts to add depth and complexity, and escalating the conflict to keep audiences engaged from beginning to end. By following Egri's guidance, writers can create stories that not only entertain, but also provoke thought and leave a lasting impact.

"The Art of Dramatic Writing" is a timeless resource for writers of all levels, offering practical advice and inspiring examples to help them hone their craft and tell stories that captivate and inspire. I am confident that this book will be a valuable addition to any writer's toolkit and a source of inspiration for generations to come.

Olivia Salter 

07/15/2024


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Conflict: Basic Principles of Writing According to Lajos Egri

 

 

Conflict: Basic Principles of Writing According to Lajos Egri

 

by Olivia Salter

 

 Conflict is a fundamental element of storytelling that drives the plot forward and keeps readers engaged. In his book "The Art of Dramatic Writing," Lajos Egri outlines the basic principles of writing conflict that every writer should keep in mind.

According to Egri, conflict is essential for creating tension and drama in a story. It is what propels the protagonist towards their goal and forces them to confront obstacles along the way. Without conflict, a story can feel flat and lackluster, failing to capture the reader's interest.

Egri emphasizes the importance of establishing clear goals and motivations for your characters in order to create meaningful conflict. The protagonist's goals should be in direct opposition to those of the antagonist, creating a dynamic struggle that drives the narrative forward.

In addition, Egri stresses the importance of internal conflict within the protagonist. A well-rounded character should have inner struggles and flaws that they must overcome throughout the story. This internal conflict adds depth and complexity to the character, making them more relatable and engaging for readers.

Furthermore, Egri advises writers to escalate the conflict throughout the story, increasing the stakes and tension with each new obstacle the protagonist faces. By raising the stakes and putting the character in increasingly difficult situations, writers can keep readers on the edge of their seats and create a sense of urgency that drives the story towards its climax.

In conclusion, conflict is a vital component of storytelling that should not be overlooked. By following Lajos Egri's principles of writing conflict, writers can create compelling narratives that resonate with readers and leave a lasting impact. Remember to establish clear goals and motivations, incorporate internal conflict within your characters, and escalate the conflict to keep readers engaged from start to finish.

 

Also see:

Tuesday, March 21, 2023

Narrative Elements Explained for Beginning Writers


Narrative Elements Explained

 

Narrative Elements Explained for Beginning Writers

 

Writing is hard. In a market where publishers and editors are critical of every story or poem, understanding the seven key elements of a narrative is more important than ever before. Regardless of your chosen genre of expertise, mastering these key narrative elements will help to make you a more successful writer.

These terms include: plot, characters, point of view, setting, theme, conflict, and style. Understanding how these elements work helps us better analyze narratives and to determine meanings.

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Monday, September 5, 2022

Conflict - How To Keep Your Readers Turning Pages by Marg McAlister

Conflict - How To Keep Your Readers Turning Pages


Some writers are just too kind.

They hate to put their characters under any kind of pressure. They hate to see them losing, or struggling to survive. That's quite understandable - after all, they've become friends with these people. They're cheering for them. They want them to win through!

Now wait a moment. Wa..a..i..t.

It's your readers who are supposed to be cheering your characters on. It's your readers who want things to turn out for them. And it's your readers that you have to make suffer - because if you do, they won't be able to resist turning the page to see what happens next. They'll feel bad for your characters... heck, they may even shed a tear or two... but they will keep turning pages. They have to. They need to know how this all turns out!

Conflict is the engine of your story. It keeps the wheels turning; it keeps the characters moving. Take away conflict, and what have you got? A cheerful little afternoon tea-party, that's what. And like all afternoon tea parties... it can get a little boring. A few cream cakes and a few hours of conversation, and you've had enough. You want to go home.

At all costs, you must prevent your readers from packing up and going home. Or more accurately - to close the book that represents the cozy (but boring) tea party. Here are a few tips on building and sustaining conflict in your story.

1. Think "Drama"

In one corner of a restaurant you have a happy couple, gazing into each other's eyes. They're smiling. They're happy. In the another corner you have couple No. 2. Their body language is enough to tell anyone that there's trouble brewing. At first, they argue in low voices. Then things start to escalate. Their voices start to rise, and it ends when she throws wine in his face, sends her chair flying back, and storms out.

Which couple is attracting all the attention?

No contest! Naturally, it's the one involved in all that DRAMA. We're all drawn to conflict. We wonder about the reasons for it. We're eager to hear about the outcome. We HAVE TO KNOW MORE.

Give your readers drama, and you can be sure they'll keep coming back for more.

2. Portray Strong Emotions

If you don't allow your characters to experience emotion - and to show their emotion - then you're losing readers. One of the chief reasons that editors give for rejecting a novel is "lack of emotional punch". By making sure that you let your characters experience a full range of emotions, you are dramatically increasing your chances of acceptance.

In any one day, we all go through a whole lot of emotions. We're happy. We're sad. We're gloomy. We're ecstatic. We're jealous or envious or embarrassed.

Make a point of getting into your viewpoint character's skin. Become that character. First, imagine your character's appearance. Then climb inside. Look out through this person's eyes. See what she sees; hear what she hears; feel what she feels. And share those emotions with the reader.

If your viewpoint character is engaged in a conversation, make sure you give the reader more than talking heads by filtering everything through your character's emotions. We should 'hear' her thoughts; feel her embarrassment; experience her heart- wrenching fear. Emotions make your story live.

3. Pull the Thread Tighter

Once you have the reader tangled in drama and strong emotions, carefully pull the thread tighter. This is called 'get the heroine up the tree and then throw stones at her'. Or 'have him hanging on the edge of the cliff by his fingernails, then put a pack of wolves below him'. Just when it seems that things can't get any worse - make them worse! It's always possible.

Always think: "How can I raise the stakes? How can I make things really bad for my character? How can I add a twist that she's not expecting - just when she thinks everything is about to turn out all right after all?"

You can't have the tension turned up to "10" all the time, of course. If you do that, readers become accustomed to all the drama and it fails to have an effect. So give your characters time to wind down and plan their next move. Shift to a different point of view for a scene or two, while your main character is left in a precarious situation.

This lets the reader relax for a while - and the ensuing conflict when things go wrong (yet again!) is all the more powerful. But never let that thread slacken too much. Even when there's a lull, leave the reader on edge, knowing that things aren't settled yet! Gently, gently... keep stretching the tension... keep building the conflict.

Your readers just won't be able to help coming back for more.

(c) copyright Marg McAlister




Marg McAlister
Marg McAlister
has published magazine articles, short stories, books for children, ezines, promotional material, sales letters and web content. She has written 5 distance education courses on writing, and her online help for writers is popular all over the world. Sign up for her regular writers' tipsheet at http://writing4success.com/