Ad Hominem Attacks on Your Protagonist: Crafting Conflict Through Character

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:

• Craft: Ad Hominem Attacks on Your Protagonist

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

 

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:

• Ad Hominem Attacks on Your Protagonist: Crafting Conflict Through Character

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About The Author

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.

 

 Randy Ingermanson Books at Amazon

 

More Advanced Fiction Writing

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

 

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:

• The Art of Dramatic Writing 
  

The Elements of Fiction Plot, Setting, Character, Conflict, Symbol, and Point of View

 

The Elements of Fiction

 

Plot, Setting, Character, Conflict, Symbol, and Point of View are the main elements which fiction.

 

Because literature is an art and not a science, it is impossible to specifically quantify any of these elements within any story or to guarantee that each will be present in any given story. Setting might be the most important element in one and almost nonexistent in another.
 

Just as a Crime Scene Investigator cannot approach a crime scene looking for a specific clue (e. g., shell casings), you as a reader cannot approach a story deciding to look for a specific element, such as Symbol. To assume could blind you to important elements. Both the CSI team and you must examine the entire “area” carefully to determine what is present and how it is important.
 

With that understanding, let’s examine the elements.

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Also see:

• 7 Elements of Fiction: ProWritingAid's Expert Guide
   

Writing Conflict: External Conflict in Literature by Olivia Salter

Writing Conflict: External Conflict in Literature

 

by Olivia Salter

 

External conflict is a crucial element in literature that drives the  story forward and creates tension and drama. It involves the protagonist facing challenges or obstacles that come from outside sources, such as other characters, society, nature, or supernatural forces. These conflicts serve to test the strength and resolve of the main character, forcing them to confront their fears, make difficult decisions, and ultimately grow and evolve throughout the story.

One of the most common forms of external conflict in literature is man vs. man, where the protagonist is pitted against another character or group of characters. This type of conflict can take the form of physical confrontations, verbal sparring, or even psychological warfare. Through these interactions, the protagonist's values, beliefs, and morals are tested, leading to inner turmoil and self-discovery.

Another form of external conflict is man vs. society, where the protagonist must navigate the expectations, norms, and rules of the world around them. This can involve challenging societal injustices, fighting against oppressive systems, or simply trying to fit in and find their place in society. By confronting these external forces, the protagonist can bring about change, challenge the status quo, and inspire others to do the same.

Nature can also serve as a source of external conflict in literature, with the protagonist facing the elements, natural disasters, or dangerous wildlife. These challenges force the protagonist to rely on their survival instincts, adapt to their surroundings, and overcome adversity in order to survive. Nature can be a powerful symbol of both beauty and danger, reflecting the fragility and resilience of the human spirit.

Finally, external conflict can also take on a supernatural or otherworldly form, where the protagonist must battle supernatural beings, mystical forces, or otherworldly creatures. These conflicts often test the protagonist's belief in the unknown, their faith in themselves, and their ability to confront the mysteries of the universe. By delving into the realm of the supernatural, authors can explore themes of magic, destiny, and the power of belief.

In conclusion, external conflict plays a vital role in literature by challenging the protagonist, driving the plot forward, and highlighting the complexities of human nature. By incorporating various forms of external conflict into their stories, authors can create engaging narratives that captivate readers, provoke thought, and inspire change. Ultimately, it is through the protagonist's struggles and triumphs against external forces that the true depth of their character is revealed, leaving a lasting impact on readers long after they have finished the story. 

Also See

• What Is External Conflict in Literature? Definition and Examples
  

Epistemic Conflict by Randy Ingermanson | Advanced Fiction Writing

 

Epistemic Conflict

 

by Randy Ingermanson 

 

Advanced Fiction Writing

 

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Epistemology is a branch of philosophy that tries to explain what it means to know things, and how we know that we know what we know.

If that seems dull or weird or spacey to you, then I refer you to your favorite search engine to run a search on the term “fake news.” Fake news is false information packaged up to look like true news. And that’s a hot topic right now. Fake news is a failure in epistemology.

So I claim that epistemology matters in real life. If so, then it also matters in fiction.

I won’t be looking at fake news in this column. I have bigger fish to fry. Instead, I’ll be looking at something I call “epistemic conflict.” This will take some effort to unpack. Work with me for the next thousand words, and I think you’ll find it worth the trouble. You can use this technique forever in your fiction, and you’ll never run out of ideas.

Why Conflict Matters

Every novelist cares about conflict, because conflict is the gasoline in the engine of fiction. Conflict makes your story go. You need conflict, and one powerful way to create conflict is through a misunderstanding between your characters.

And that’s where “epistemic conflict” comes into play. “Epistemic conflict” is one very basic way to create a deep misunderstanding that will get your characters fighting like rabid dogs.

But before I explain “epistemic conflict,” I need another term, which is “epistemic status.” And what is that?

Epistemic Status

People say stuff all the time. Some of it’s true; some is false; some is neither. But it would be naive to think that all statements can be classified as either a “fact” or a “lie.” Because a lot depends on what people believe about the truth or falsity of the things they say.

So when I talk about the “epistemic status” of a statement, I’m thinking of two questions:

• Does the person who made the statement believe it’s true, or false, or neither?
• How certain are they in that belief?

Both of these matter. These two issues raise all sorts of interesting complications. Here are some examples of the many kinds of epistemic status that a statement can have:

• Facts are things you believe because you have first-hand evidence, and therefore you can know them with high certainty. For example, it’s a fact that the sky was blue outside my house yesterday at noon. I saw the sky. It was blue. The only way this fact could be wrong is if my eyes weren’t functioning correctly.
• Mathematical theorems are things you believe because you can prove them using logic, and therefore you can know them with high certainty. For example, I know the Pythagorean Theorem is true, because I have worked through the proof. The only way this theorem could be wrong is if my brain isn’t functioning correctly.
• Scientific findings summarize the results of experiments. A scientist considers a scientific finding to be provisionally true, based on the current data. A scientific experiment should always estimate the certainty of the result. Note that scientific findings sometimes change when more data comes in.
• Mathematical conjectures are guesses about potentially true theorems. Mathematicians consider them “not proven,” but they often have reason to think they might be true or might be false. Math happens when a mathematician tries to prove or disprove a conjecture. For a famous example of a conjecture, do a search on the term “Goldbach’s conjecture.”
• Scientific hypotheses are guesses about potential scientific findings. Scientists may suspect a hypothesis is true, or suspect it’s false, but they don’t know, and they know that they don’t know. As a very famous example, when I was a graduate student in physics, the Higgs boson was widely hypothesized to explain major parts of physics. But nobody had ever seen one in the lab. The Higgs boson was a hypothesis for 48 years, until it finally was detected in the lab. Then it became a scientific finding.
• Faith statements are statements that people of faith make about their religious beliefs, even when they know that no proof is possible. Generally, they don’t assign a level of certainty, because faith is not about certainty. As an example, one of the Thirteen Principles of Maimonides, the great Jewish philosopher, was, “I believe with perfect faith in the resurrection of the dead.” Believing this is an act of faith, not a claim of certainty. If anyone knew it with certainty, it would not be a faith statement, it would be a fact or a theorem.
• Opinions are things you believe to be more likely true than not. In some cases, the opinion holder may be very certain their opinion is correct, but the reality is that the correctness of opinions usually can’t be known with high certainty.
• Allegations are claims that somebody has made without providing evidence to back them up. Allegations are an interesting case because the person making the allegation usually claims a high level of certainty. But the person hearing the allegation can’t have that same level of certainty until they see the evidence. One thing they can know with high certainty is that the allegation was made. That makes allegations newsworthy, even when they can't be checked. Responsible journalists make it clear that they are allegations, NOT facts. They also look for ways to check them.
• Lies are statements that you don’t believe and you know to be false. The point of a lie is to convince other people that a false statement is true. Fake news is an example of a lie.
• April Fool’s jokes are a special case. They’re not the truth, but they’re also not a lie. When you tell an April Fool’s joke, you believe with certainty it’s false, but truth or falsehood is not the point. The point of an April Fool’s joke is to say something obviously false in a way that’s funny because it’s absurd.
• Satire is another special case. Satire is not intended to be either the truth or a lie. It’s intended to make people think by saying something you don’t believe in a way that highlights some important truth. A famous example is the essay, “A Modest Proposal,” by Jonathan Swift, published in 1729. Swift proposed that poor Irish families could sell their children to be eaten by the rich. This was not a real policy proposal, and probably few people ever thought it was. But it was not a lie, either, nor was it a joke. It was satire, and it made people think about their assumptions.

That’s not a complete list of all possible epistemic statuses. You can probably think of several more. But these are enough to now explain what “epistemic conflict” is.

The Payoff—Epistemic Conflict

So what do I mean by “epistemic conflict?”

“Epistemic conflict” is the special kind of conflict that happens between characters when they assign different epistemic statuses to a statement.

In the real-life case of a “fake news” story, some people claim that the story has the epistemic status of a “Fact,” while others claim that it has the epistemic status of a “Lie.”

But there are many ways to have epistemic conflict. Let’s look at a few possible examples that could arise in your fiction:

Example 1: Your character writes an April Fool’s Day blog post that they think is hilariously funny. But then they discover that hundreds or thousands of people mistook it for a fact, and now there’s trouble.

Example 2: Your character posts a tweet that is intended to be satire. But satire requires context, and people who don’t know the context think your character’s tweet sounds racist. It goes viral and now millions of people are angry at your character, because they mistook satire for an actual opinion.

Example 3: Two characters express conflicting political opinions, but each of them mistakes their own opinions as facts, and mistakes the other’s opinion as a lie.

Example 4: Two scientists publish their scientific findings, but they get opposite results. The scientists know that all scientific knowledge is provisional, and they see the conflict in their findings as something interesting to pursue. But a journalist mistakes these findings as facts, and writes a story claiming there is a “crisis” in the scientists’ field of study.

Homework:

• Here’s a challenge for you. Spend one whole day figuring out the epistemic status of everything you say or hear. You’ll probably have to define some new epistemic statuses, because the list of 11 that I gave isn’t the whole alligator. I suspect you’ll find this exercise exhausting but enlightening. At the end of the day, your reward is that you get to think about how to use all this in your fiction.

 

About The Author

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.

 

 Randy Ingermanson Books at Amazon

 

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A Quick Note on Types of Conflict in Literature for the Novice Writer by Ryker J. Phoenix

 

 A Quick Note on Types of Conflict in Literature for the Novice Writer

 

by Ryker J. Phoenix

 

Conflict is one of the major themes in literature, and it is essential for the development of the plot and characters in stories. Conflict acts as a catalyst, creating tension and suspense, and it helps to engage readers by generating curiosity about the eventual outcome of the story. There are various types of conflicts in literature, and understanding them is essential for analyzing and interpreting literary works effectively.

Man vs. Self Conflict is the most common type of conflict prevalent in literature. This kind of conflict occurs as a result of internal struggles that characters face within themselves. In such conflicts, a character's thoughts, feelings, fears and internal dilemmas are pitted against each other. In this type of conflict, the characters are presented with difficult choices and decisions, which they must make. For example, in William Shakespeare’s "Hamlet," the protagonist Hamlet's decision to take revenge on his father's killer is an example of a man vs. self-conflict. He battles his conscience and doubts whether he should go ahead with his revenge plans, or instead focus on getting on with his life.

Man vs. Man Conflict is another type of conflict found in literature. In such conflicts, two or more characters are in opposition to each other, resulting in intense competition or rivalry. This kind of conflict is often fueled by differences in values, beliefs, personalities, or goals of the characters. For instance, in Harper Lee’s "To Kill a Mockingbird," the main character Scout battles with Bob Ewell's daughter Mayella, who accuses Scout's father of rape, which he did not commit. Scout and Mayella are pitted against each other, and they both defend their sides vigorously, leading to a dramatic and intense conflict.

Man vs. Nature Conflict is also quite common in literature. This type of conflict typically features a character struggling with the elements of nature, such as weather, animals or illness. In this type of conflict, the character is in a battle against a natural force, which may act as an obstacle or an enemy. For example, in "The Old Man and The Sea” by Ernest Hemingway, the protagonist, Santiago, battles a huge marlin in the ocean for three days, leading to a win or lose situation for the old man.

Man vs. Society Conflict is another popular conflict in literature. In this type of conflict, a character is in opposition to the norms, values or traditions of society. This conflict often arises as a result of differences in class, culture, race, or gender. For example, in "To Kill a Mockingbird," Attie, the protagonist, faces societal pressures and prejudices as he defends a black man in court during a racially charged period in history.

Man vs. Technology Conflict is also becoming a more prevalent conflict featured in literature, with the advancements in technology present in modern society. In this type of conflict, a character struggles with a machine, device or computer system, which is often portrayed as a menacing force competing against humanity. This conflict is often used in Science Fiction literature, such as George Orwell's "1984," in which the protagonist, Winston, battles a futuristic society controlled by artificial intelligence.

In conclusion, conflict plays a significant role in literature, and the different types of conflict form the building blocks of various literary works. Understanding these types of conflicts is essential for analyzing and interpreting literature effectively. Whether it is man vs. self, man vs. man, man vs. nature, man vs. society or man vs. technology, conflict remains a powerful and necessary tool that creates the tension and suspense needed to keep readers engaged and interested in a story.

 

Also see:

• 7 Types of Conflict in Literature: How to Use Them (with Examples)

 

 More Quick Notes for the Novice Writer

Narrative Elements Explained for Beginning Writers

 

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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 Free Writing Books Index

Conflict and Resolution in the Romance Novel by Linda Shertzer

Conflict and Resolution in the Romance Novel

by Linda Shertzer

Creating a good conflict in a romance is only one side of the writing dilemma. The other, equally important side is: how does one resolve that conflict?

The conflict must be one that, by the potential for action and emotional drama that it promises, will immediately draw the reader into the story. On the practical side, it must also be sustainable through approximately 90,000 words.

It must define the personal characteristics of the hero and heroine. He or she must be the kind of person who would become involved in such a conflict, and on a particular side of that conflict. Or, if they are thrust unwillingly into the conflict, it will define their personal growth through its resolution. The conflict defines the relationship between them as friends, as antagonists, and as lovers. It can also define their relationship to secondary characters.

Most important of all, the conflict must be one that is able to be resolved in a way that is both the logical outcome of all events, and is also satisfying to the characters involved as well as to the reader.

One often-heard suggestion on how to create sustainable conflict has been to place the hero and heroine on diametrically opposed sides of a major social or political event. These are situations that hold the potential for a great deal of emotional turmoil, as well as lots of action, which can enhance the escalating sexual tension necessary in a romance. At first glance, this sounds like a good idea.

However, your job as an author is not only to create the conflict and the tension, but also to resolve it. This is especially important in a romance novel, where your reader expects the hero and heroine to form a lasting, loving relationship. You, as the author, must never disappoint your reader!

If the goals of your hero and heroine are completely opposite, as you resolve the plot, one must win and one must lose. If the heroine wins, the hero turns into a wimp. No one wants a wimpy hero! If the hero wins, your story has turned into just another tale of how the masterful male overcomes the ditzy weakling, and outdated, female. What we are left with is basically a No-Win Situation with lots of room for resentment on both sides. The capacity to forgive and forget set aside, your "losing" character may seem less of a person if they are willing to relinquish a long-cherished, firmly-held dream to be totally subsumed in a relationship. The No-Win Situation may be the logical resolution of the conflict, but it may not be the emotionally satisfying conclusion your reader expects and deserves.

For me, the best plots make the hero's and the heroine's goals the same. Sounds silly. Sounds impossible! If they're both working toward the same goal, where's the striving? Where's the conflict?

In reality, there are two types of conflict: the apparent conflict and the underlying conflict. The apparent conflict is loud and showy, and starts your novel off with a bang. It seems irresolvable. It may eventually be resolvable, but the solution lies beyond the control of your hero and heroine, as in the outcome of a battle or natural disaster. As devastating as it may seem, it may be of relatively minor importance in the actual relationship between hero and heroine. The underlying conflict gradually makes itself shown through the unfolding story. This conflict is what is really important to the continuing relationship of your hero and heroine, and is resolvable. Not easily resolvable, I'll grant you, but there is a solution.

In setting out the apparent conflict of your novel, you must always keep in mind the underlying conflict. Just as the romantic relationship develops, the underlying conflict must be revealed bit by bit. In the apparent conflict lie the seeds for the resolution of the underlying conflict.

If he's a Yankee soldier and she's a rebel spy, their goals aren't the same, surely. There is little chance for their happiness beyond what the actual historic resolution and the passage of time will allow. But their basic goal is the same — a yearning for safety, justice, and peace. Their underlying goal must not be in conflict, but in concert. The best method to use to obtain their goal is what must be in strong conflict. As they go about achieving their underlying goals, they must eventually come to realize that these goals are actually the same goal approached from two diametrically opposed angles. Therein lies the opportunity for compromise, to see the other person's goal through their eyes and in so doing, to become one with that person. This, in turn, is the key to their romance.

In Home Fires, my first Americana historical from Berkley, my hero, Ben Cameron, wants to keep his orphaned niece Meggie with him on the farm. My heroine, Emily Shaw, wants to take her late brother's child to her home back East, where she'll enjoy all the benefits the family fortune and social class can provide. The methods of obtaining their goals are in direct conflict, with the potential resolution that these people will never see each other again.

But Ben and Emily's basic goal is the same. They both want to provide a good home for the child — which can be resolved in a way that nobody loses.

In a romance, the good guys (all of them) should always win.

Copyright © Linda Shertzer

About the Author 

Linda Shertzer has written 20 historical romance novels under her own name, as well as under the pseudonym Linda Kreisel, including Regency Romances as Melinda Pryce. She has served as a judge in both local and national level romance writers contests. She is the past president of two local writers associations, and a founding member of a third organization. She has a Masters Degree in Historical Studies. She also teaches creative writing at the local community college. 

Free Writing Books Index

Concentrate On Conflict By Deborah S. Rossman

Concentrate On Conflict

By Deborah S. Rossman

The development of conflict is perhaps the single most difficult task of the writer. It is also the most important.

Action in a story is defined by characters talking or moving, much like actors on a stage, but in order to feel written words come to life, a reader needs more. In a time when mass telecommunications have brought information to our fingertips with the flick of a switch, a reader expects excitement and entertainment in everything she reads. The conflict of the story is the avenue by which a writer can hook the reader and keep her turning pages.

A scene should always portray a struggle. It is used to reveal something interesting, important, or exciting that is happening, something which advances the plot of the story, usually by adding to the character's problems. It follows that the conflict of each scene is shown, not told, to the reader in a moment by moment sequence that imitates real life. (No summary allowed.)

The answer to writing conflict begins with the invention of characters. A good rule of thumb to follow is the old adage, opposites attract. When hero and heroine come from separate ends of the spectrum, struggle results from their differences.

The progression of each scene into conflict can be categorized into three steps.

Identify the character's goal: Just as a book should start by stating a character's goal, so should each scene begin by showing what the character wants to accomplish and why. There are several ways to do this. Direct dialogue is an excellent approach to introduce character, while at the same time showing his motivation and intent. Well written dialogue makes writing flow and brings a realism that simulates life's experiences. Another way to reveal goal is through character internalization. Using a single point of view, delve into the character's thoughts and show how he sees his world. The nature of the character enlightens the reader. This includes revealing prejudices, ignorance, and fears, and most importantly the character's purpose. The third and last way to reveal goal is to paraphrase in the opening line of the story. This brings the character's intent into the reader's mind immediately. Whichever method you choose, be sure that the goal is stated as soon as possible in a clear and concise form.

Present conflict: After the reader knows what the character wants to accomplish, drop the brick with the all important struggle. Provide conflict by placing an obstacle in the character's path. He can't reach his goal. So, creates the problem. And voila`, a scene is born. A word of caution here. Conflict is not to be confused with sexual tension. Rather, the struggle is intrinsic to the goal of the character, not just a hero trying to sleep with the heroine. Real conflict is further categorized into two kinds. Internal conflict is described as the inner struggle and usually deals with the character's emotions. It must be serious and deep. Examples include a heroine pining for the husband who never came home from the war, a heroine hiding the fact that the son she had born out of wedlock belongs to her brother's best friend. External conflict, on the other hand, is visible. It is defined as the influence from an outside force which threatens the character's life. Examples: a fire that destroys the heroine's home and subsequent threats on her life, a villain trying to kill the hero or heroine, a ghost held captive in an inn. Both types of conflict work together. A word of advice, however. Beware of trivial or unconvincing misunderstandings. Conflict must be believable and strong.

Culminate the action with a catastrophe: Once you have developed the struggle and brought the character into the depth of the conflict, pull out all the stops and impact the confrontation with a disaster. In other words, make things worse. The story moves forward by shoving the main character farther and farther away from his purpose. Like the black moment at the climax of a novel, each scene should present a major crisis, and that crisis must be directly related to the character's struggle within the scene. Equally important, remember that all conflict in a novel is tied in a progression to the character's ultimate goal. There's a reason for everything. How does the novel end? The poor hero gets a break and finally meets his goal. The conflict is resolved.

In any well-written novel, the struggle is what makes the writing exceptional. Tension brews while the character tries in vain to achieve his goal. And as tension builds, the pacing flows. The reader identifies with the character and feels sorry for her. Emotion is tapped, drawing the reader into the scene until the conclusion, keeping the book in her hand until the very last word.

Writing is anything but easy. An author puts her blood and sweat into her work, her time, her very soul. Perhaps, she might compare the well constructed conflict in a scene to her life as a writer. Good writing is the intent, getting there is the struggle, and there are always disasters along the road. But in the end, the writer who concentrates on creating conflict, studies the craft of writing, and works with diligence and without relent will meet her final goal.

© Deborah S. Rossman, All Rights Reserved.

 

 Free Writing Books Index

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

Conflict - How To Keep Your Readers Turning Pages

by Marg McAlister

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

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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/

 

Marg McAlister Books at Amazon.com