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Editorial Reviews. About the Author. Geoff Laughton is a Relationship Architect, International.
Table of contents

• Season 1: Episode 12 Geoff Laughton: How to Design Your Best-Ever Relationship
• Convergent networked decision-making using group insights | SpringerLink
• Description

This allows you to see his feelings more clearly, and portray them more vividly. It can be useful to contrast the hero with another character who has a very different way of solving problems.

This introduces uncertainty, and therefore suspense, about which approach is the better one. The more strongly the other character argues for his own approach, the greater the pressure on the hero to abandon his method. A powerful way to use inner conflict to draw readers into the story is to show your hero making a disastrous choice for good reasons, then following this path without realising how bad it is. This is particularly effective when readers know that the choice is a bad one and can see the disaster coming dramatic irony.

The outer conflicts the events of the story should force the hero to choose between his conflicting inner goals, over and over again Vorhaus, writerunboxed. People deal with conflicts in different ways. Impulsive people may choose very quickly to get rid of the conflict, while indecisive folk may procrastinate in their anxiety to make the right decision Maass, The Plot Thickens. An inwardly conflicted person may even crave or create external conflict to ease the inner burden.

Some such people can only relax in the middle of a crisis and may go to great lengths to create one. Is it a moment of outward change, a plot turning point? How can you make that decision more difficult? List some such difficulties eg your character is rewarded for giving up, while saving the day means sacrificing something important of himself, something hard won and of high importance. This can be shown in a number of ways:. To create such stories, you have to show how your hero feels about everything that happens.

Stephen King is a master of inner conflict and his novel The Shining is a brilliant example. Also Hemingway, and John LeCarre.

Your readers must be able to relate to the hero at every moment of the story. The way you make this happen is by showing them how she feels at each point, eg, frustrated, guilt-ridden, terrified, anxious, embarrassed, ashamed, delighted, resentful, triumphant or loving, and how her emotions are changing from minute to minute. Sometimes the hero will be overcome by these feelings; at other times she may fight them, for instance by refusing to express her fear, which may be more engaging than giving in to it.

To deepen flat characters, make sure they react to every event. Show their feelings through their thoughts, what they say and how they say it, what they do, and their body language. Show their reactions to being challenged, disbelieved, threatened, bullied, misunderstood, thwarted, etc; reveal their suffering. Always follow the rule of stimulus and response Bickham. Every response must be caused by an external stimulus. Imagine that the story is occurring on stage — the audience must be able to see or hear the stimulus. Dialogue can be used in many ways to make your story more dramatic and engaging.

Iglesias Writing for Emotional Impac t gives examples of 25 common techniques.

Most of a novel should be told, because showing it would make the story unnecessarily detailed and long-winded. However the most intense and dramatic moments in the story, particularly times of powerful inner conflict, do need to be shown because:. It may also be unreliable — the hero may have misunderstood or misjudged what she perceived. Plot-driven books, where the main character only experiences part of the action, and epics with a lot of world-building or description of setting, and mysteries, may be better told using mainly third-person omniscient or limited viewpoint, with Deep Point of View reserved for moments of emotional intensity.

In Deep Point of View the hero is telling the story exactly how she experiences it, with no intrusion from or filtering by the author. Follow the outline presented in the dot points above, but also:. Follow Keep in contact through the following social networks or via RSS feed:.

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Generic selectors. Exact matches only. Search in title. Search in content. Search in excerpt. Search in posts. Search in pages. This article will tell you: Why inner conflict is a vital part of great storytelling; What an inner conflict is and how it works to captivate your readers; Key ways to create powerful inner conflicts, including use of a prior wound, and by finding compelling reasons for the hero to not pursue his story goal; 31 other ways to create inner conflict; How to heighten inner conflict; How to satisfyingly resolve inner conflict; and How best to show inner conflict on the page.

Why is inner conflict such a vital aspect of storytelling? Her unresolved conflict is one of the main qualities that makes her memorable. Taken to extremes, inner conflict can drive people mad, to suicide or murder. A yearning is something the character is aware of and wants badly, but is too afraid to go after. It may also cause her to: Live in a fantasy world; or Fear intimacy or relationships; or Avoid conflict or troubling areas of life; or Be embittered and angry at the world; or Become an attention seeker. Ask: What does your hero most want in the novel — her story goal? Give your hero an equally compelling reason to not pursue her goal.

Show how she pursues these conflicting desires until the conflict is resolved, one way or another. In fact inner conflicts can come from a myriad of other sources that are not necessarily related to a prior wound note that some of these sources overlap others : A powerful fear. The most important question you can ask about a character is What are they afraid of?

A strong inner conflict can be created by giving the hero a powerful fear, then working out how she always avoids confronting it, as discussed above. All heroes should have at least one big fear, one that readers share, such as fear of failure or public humiliation, fear of heights or drowning or intimacy. The moment this fear is revealed, the story becomes more compelling because your readers know the hero will have to face her fear. They anticipate how this might occur and worry about how it will turn out.

The antagonist should force the hero to face her fear. If your hero is afraid of heights, trap her child on a cliff ledge. A secret fear. A character flaw. Readers identify with characters who have flaws, because a flaw makes them seem more human. Flaws can also arise in many ways unrelated to a wound. What weaknesses can be used to try and break him?

What weaknesses must he overcome in order to succeed? Some flaws are beyond the pale, but others are relative. A character can be dishonest, a liar, a criminal or even a killer if the bad behaviour is necessary for his own survival, to protect someone else, to gain justice in an unjust world, or for some other generally good or noble reason. A secret that the character will do anything to protect creates a powerful inner conflict between the face he shows to the world and the inner person he knows himself to be.

A hero who eventually finds the courage to reveal his secret and accept the consequences will be memorable and compelling. Secrets may also be kept because of their value, or danger. A character might also keep secret that they have a weakness or vulnerability, for fear that it will be exploited against them. A mistaken want — a conflict between what the hero really wants eg, love or respect or belonging and what he thinks he wants eg, money or power or success.

Because he misunderstands what he really wants, his choices and actions have always been unsatisfying see caroclarke. There are an endless number of emotional dilemmas, arising when any two of a myriad of human emotions are pitted against one another in a variety of ways see Lyon, Maass, and Ackerman and Puglisi, The Emotion Thesaurus. Emotional dilemmas can be internal i.

Find the place where the hero feels the most intense physical emotion. Write a paragraph where he feels the two emotions in conflict, and demonstrate his conflict with some physical action. Think of any idea, then find a way to logically oppose it; A moral dilemma.