Creating conflict is a crucial element in storytelling as it keeps readers engaged and invested in the narrative. Here are five ways writers can introduce and escalate conflict in their stories:
Character Conflicts:
Internal Conflict: Explore the internal struggles and dilemmas within a character. This could involve moral decisions, unresolved issues from the past, or conflicting emotions.
Interpersonal Conflict: Develop conflicts between characters. This can range from misunderstandings and differences in values to personal grudges and clashes of personality.
Goal Obstacles:
External Challenges: Introduce obstacles that hinder the protagonist's progress toward their goals. This could include external forces such as antagonistic characters, environmental challenges, or societal restrictions.
Personal Sacrifice: Force characters to make sacrifices or difficult choices in pursuit of their goals. This adds complexity and tension to the storyline.
Time Constraints:
Urgency and Deadlines: Create time-sensitive situations that put pressure on characters to act quickly. A ticking clock adds tension and raises the stakes, making the conflict more compelling.
Race Against Time: Set up scenarios where characters must accomplish their objectives before a looming threat or impending disaster occurs.
Moral Dilemmas:
Ethical Challenges: Present characters with situations where they must choose between right and wrong. This can lead to internal conflicts, as characters grapple with the consequences of their choices.
Gray Areas: Explore morally ambiguous situations where there is no clear right or wrong, forcing characters to navigate through shades of gray.
Unexpected Twists:
Plot Surprises: Incorporate unexpected plot twists that catch both characters and readers off guard. These surprises can introduce new conflicts or turn existing ones in unforeseen directions.
Revelations: Uncover hidden truths, secrets, or betrayals that disrupt the status quo and create tension among characters.
Remember that effective conflict should be organic to the story, arising from the characters' motivations, the world they inhabit, and the goals they pursue. Balancing various types of conflict can contribute to a dynamic and engaging narrative.
All of us creative types have things we're naturally good at, and things we've learned to do, and things we aren't that good at (yet). This creates a creative trap: when approaching a project, we often work on the part we understand best — the part that scares us least. So if you're good at plot, you write the plot first, and then fill in the characters later. If you're good at characters, you write up the characters and then feel your way towards a plot.
Everyone pursuing a screenwriting career will eventually realize this journey is not for the thin of skin or for those who cannot handle the emotional ups and downs this business brings. If you haven’t yet experienced the soul crushing disappointment of finally having written a script that goes into development, but it doesn’t make it to production and sits on a shelf, I don’t envy you. It’s happened to me a handful of times out of my nearly two dozen paid screenwriting assignments. Learn this early — there are no guarantees in the screenwriting game. You take your lumps, heal, and move on to the next screenplay and the next one.
I love Readers! Yes they are the gatekeepers to the Promised Land and like it or not they do have power. But just how much? Well, I’m here to show you. I got my hands on a classified document folks, the holy grail… An actual copy of a real STUDIO MEMO covering GUIDELINES for their READERS.
Scenes must have a reason to exist in your screenplay. Each scene must advance the plot forward through dialogue and/or visual storytelling. Characters’ journeys drive the script’s narrative, and each scene must steer their journey forward. Although some scenes might not even contain any characters, these scenes must still provide information about your plot, as well as your characters’ lives and actions. There is no set rule as to how many lines, paragraphs, or pages constitute a scene.
The following has nothing to do with wet t-shirts. This entry is actually about screenwriting contests - a subject with little marquee value. One of the most popular category of questions that I find in my e-mail box is about screenwriting contests. As I say over and over, I believe that most are a waste of energy and entry fee. Some - like the Nicholl and Disney Fellowships - are very reputable and have launched a few Hollywood careers. Regardless of how reputable any contest might be, the screening process for most seems tenuous. Low fees for contest readers and a bulk of scripts guarantees a sloppy vetting system.
"Lowtide" writer, director and producer Kevin McMullin has sold his short story "Bomb" and is tabbed to write the script for "low seven figures" and "Gladiator" director Ridley Scott is attached to Direct. According to reports, 20th Century beat out studios Apple, Netflix, Sony, and Warner Bros.
Books are the fastest and easiest way you can learn from an expert. In screenwriting, it’s no different. Some of the best screenwriters and those who have mastered the craft, have created countless books trying to encapsulate all they’ve learned in their work. If you’re a new screenwriter and looking to improve or simply to learn how to create better scripts, these three books will help you out.
Everybody has a perspective. Everybody in your scene has a reason. They have their own voice, their own identity, their own history… But if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.
What is a successful second act? One that keeps the reader engaged, moves the story forward, and successfully delivers it into the falling action; that being the third act climax and the denouement. A bad screenplay has a second act that simply doesn't keep the narrative trajectory in place and thus the spine of the story sags; meaning rising tension and conflict is not taking place.