Wednesday, April 16, 2014

Rule by zombies

Zombie Superheroes by Santlov
It's the zombie apocalypse. You and a hundred or so others are holed up in a walled compound. To remain safe from the zombies, there are, of course, rules that everyone must obey. What are the 10 rules posted at the gate to the compound?

When you're done, there's 16 creative zombie prompts at Free Character Writing Prompts #16: Zombies.

Wednesday, April 09, 2014

Just a few more questions

Come to think of it, a well is never mentioned!
One story brainstorming trick is to ask questions. Then come up with several, potentially off-the-wall, answers. You can keep repeating this, asking questions about the answers that interest you, then generating more answers.

You can start with my questions and continue, or start fresh. If you come up with a richer story, cool! If you end up taking it in another direction, cool!

Jack and Jill
How old is Jack?
What's Jack's occupation?
How old is Jill?
What's Jill's occupation?
What's their relationship to each other?

went up the hill
What hill?
What's at the top of the hill (besides the water)?
Whose idea was this?

To fetch a pail of water.
Why is the water at the top of the hill?
What will they do with the water?

Jack fell down.
What caused Jack to fall?
If it wasn't an accident, who felt Jack and Jill were a threat?

And broke his crown.
If it wasn't the crown of his head what kind of crown was it?
Why did he have his crown with him?

And Jill came tumbling after.
What caused Jill to tumble?

What happened to the water?
Now what?

When you're done, Adam Gidwitz expanded on the story of Jack and Jill in In a Glass Grimmly. "If you dare, join Jack and Jill as they embark on a harrowing quest through a new set of tales from the Brothers Grimm, Hans Christian Andersen, and others. Follow along as they enter startling new landscapes that may (or may not) be scary, bloody, terrifying, and altogether true in this hair-raising companion to Adam Gidwitz’s widely acclaimed, award-winning debut, A Tale Dark & Grimm.?

Sunday, April 06, 2014

Ostrich trees


NOT Southern California! It's the land of sky painters and ostrich trees! Or ostrich-like creatures with leaf feathers. :-)

Wednesday, April 02, 2014

Searching for OZ

After a successful sales presentation that left you dissatisfied, you head home but turn off from the GPS efficient and direct route for a more leisurely scenic route. While stopping for a bite to eat you notice across the street The Oz Museum. From the outside it's just another store front, tucked next to Vacuum Repair by Mo who claims "I can make it suck again", Crabb's Jewelers "Top $$ Gold", Dizzie's "Home of Kansas's best corn dough pizza!". You're in no hurry, so why not?

After lunch you head over. Behind the old glass-fronted counter is a very short woman, nibbling a cookie as she reads a worn copy of The Lost Princess of Oz. She shakes her head before looking up. As you cross the four strides to the counter, she slides a laminated map of the museum across to the edge of the glass counter. Her eyes drift to the donation box, then she returns to her book.

You put $5 into the "Donations are ♥︎" box then step into the next room. You had expected some kitschy mockups from the Wizard of Oz movie. But this is set up like a natural history museum. Puzzled you wander from one case to the next that contain things like yellow bricks, a golden cap and jewel-studded belt both labeled REPLICA, and a dinner pail and a coconut-like object labeled Dinner Pail tree and Book tree. In one case there are 7 sets of feathers. Each card describes a different species of winged monkey.

When you get to a pair of silver shoes labeled Dorothy Gale your puzzlement draws your face into a deep scowl. Then a vague memory surfaces that the shoes had been silver in the books but had changed to the more colorful ruby for the movie. And an even vaguer memory niggles that the land of Oz in the books had been real rather than a dream.

This all must be the creation of some Oz nerd with more energy than sense to create this extended joke out in the middle of nowhere.

A high-pitched voice at your elbow says, "Here. You dropped this."

The woman from the counter holds out a mole-skin notebook. You protest but she shoves it at you, leaving you no choice but to grab it before it drops to the floor.

As she walks away, she says, "And don't forget to leave the map on the counter. They ain't cheap!"

You turn it over to see on the cover is written:

It Takes Courage To Believe

Glancing around, you look for cameras. This isn't an Oz-nerd creation. It must be a Candid Camera version of The Twilight Zone.

After some further skepticism, you are drawn into following clues to what is going on, on a quest to want to believe.

Friday, March 28, 2014

An End to the Conflict on Conflict

Oo, bold words! But creating conflict for your story isn't as confusing as all the conflicting words written about it.

A conflict isn't created by your character going after what she wants. Conflict is created when someone or something pushes back to stop her. The push back can even come from inside herself.

A conflict needs three things:
  1. There must be at least two sides. (Both sides can be inside one person!)
  2. Both sides must care deeply enough to defend what they have or want.
  3. Conflict begins once there's a reaction in opposition to the other side's action.
For the conflict to continue, both sides must feel strongly enough to keep pushing for what they want no matter how hard the other side pushes back at them.

Here are a few simple tests for conflict:
  • If a character does or says something, is there a negative* reaction?
  • Is your character's initial emotion or thought followed by a "But ..."?
  • Does your character want two things, but choosing one means losing the other?
If so, you've got conflict.
(* Opposing is a more accurate word but negative's easier to picture. Pulling back. Pushing in the opposite direction. Repulsing. Not supporting.)

The counter reaction to an event might be INTERNAL, two incompatible feelings swirling around inside her. If her initial feeling is positive it may be followed by feeling fearful, guilty, angry, revolted, hesitant, horrified, shameful, anxious, envious, worried, embarrassed, insulted, indignant, inadequate, trapped, humiliated, controlled, inferior, manipulated, defensive, dissatisfied, distrustful, resentful, skeptical, uneasy, challenged ...

The counter reaction might be EXTERNAL. It could be immediate. A punch in the face. A competitive, "Game's on!" Weeping. An alarm tripped. A condescending laugh. Everyone aiming crossbows. A tense silence. A horrified look. A bomb triggered. Defensive posturing. An arrest. A sneer. An argument. A plea to stop. A worried ringing of hands. A threat of bodily harm. A cold shoulder.

The reaction could be delayed if the opposition wants to remain hidden. A poisoned drink. A threatening call in the night. A rock through the window. A slashed tire.

The reaction might not seem like a reaction if the opposition wants to keep the conflict secret, perhaps by steering the character away before she uncovers what's hidden. A stop for speeding. A loan falling through. Power cut off. On old love suddenly showing up.

Any reaction that isn't a sincere, "I agree! Great idea!" is conflict in action. As Calvin shows above, even apathy can begin conflict if your character depended on the Scoobies to rally around her grand idea.

If your character reacts to a push back by giving up, it worked! (as far as the opposition is concerned) and the conflict is over. If your character reacts with renewed energy by pushing onward or pushing back, the conflict is still on. The conflict is on until one side stops pushing back (they die, they get what they wanted, they give up, they join the other side).

What keeps both sides pushing? The risk to what they care about if they stop. They each have something they fear losing, endangering or not getting.

While conflict complicates your character fulfilling her desire by pushing, pulling and sidetracking, it also serves a better purpose. When well chosen, conflict forces your character to deal with issues she's shoved to the side, locked in boxes and generally arranged her life so she doesn't have to deal with them. External conflict will force internal conflict.

There's a good short Definition of Conflict at Literary Devices.

No CONFLICT.
Not until someone objects!
(Though there is TENSION because
someone always objects to Calvin's goals.)
HOW TO ADD CONFLICT
You might stumble across conflict defined loosely as anything your character struggles with. But that doesn't help at all in creating compelling conflict. You can pack a story with struggles: alcoholic ex, bad mess hall food, once-loving now-dementia-stricken father, sick cat, powerlessly trapped in a soul-sucking life with no shiny beacon of hopeful betterness on the horizon ... and still end up with a boring story.

If, instead, conflict is defined as a push back in reaction to your character's action, then it's much easier to come up with compelling ideas.

To create some external conflict all you need do is ask,

"Who feels what they care about is threatened by my character, by what he believes, by what he wants, by what he did, by what he said? What does someone want my character to do instead?"

Threats are massively energizing. But any emotion that rouses someone to get in your character's way can be the seed of conflict.

The threat felt needn't be physical or be to something physical. Dreams can be threatened. The future can be threatened. Tevye feels the tradition he's a part of is threatened by his daughters' choices of husbands in Fiddler on the Roof. Toula's father feels the same threat from his daughter's desire to go to college in My Big Fat Greek Wedding.

The Story of Conflict

When the story begins your character will have something missing from her life. Shortly an opportunity to get something she cares about appears. The path won't be easy. People and feelings will get in her way.

Determinedly she makes a course correction on her life path, steering towards what she wants. And ...

What she finds on the path stirs fears, challenges to her beliefs, doubts as she struggles towards her goal. "I want it but don't want it." Internal conflict has begun. And ...

Someone or something finds her entrance into his sphere threatening. Her presence, her desire, her beliefs puts something he cares about at risk. He needs to protect what he has or what he wants. He puts an obstacle in her path to stop, delay, or sidetrack her. External conflict has begun.
Internal conflict can be framed as feeling a threat also. You create conflict if your character feels pulled towards a choice that would threaten what she cares about or who she sees herself as or any need on Maslow's list. (Threat may not capture all the emotions that might conflict but it'll get you started.)

"What does my character want that threatens something else she cares about? What choices that draw her, what voices from her past threaten who she sees herself as, what or who she cares about, her inner peace, her security, her imagined future, her beliefs about what is right and true?"

If Spock believes deeply that being Vulcan is the same as being the person he wants to be, then has he lost his identity if an emotional choice leads towards being the person he wants to be and the logical choice moves away? If Chon Wang in Shanghai Noon cares deeply about the princess and about his identity as someone loyal to the emperor, who does he become if he must betray his loyalty in order to save the princess?

If your character's actions upset someone enough to try to stop her, that's conflict. If your character's desires or ghosts from her past upset her enough to prevent her from choosing, that's conflict.

Capturing Conflict Exercise 1
Keep a notebook of conflicts. As you watch shows or read, look for any reaction to a character that's other than cooperation. Anger, "No," disagreement, fear, upsetness, suspicion, distrust ...

Hint. Since conflicts can erupt quickly on shows, to make it easier don't hobble yourself searching for the perfectly nuanced emotional word. As a first pass happy, sad, angry, afraid will work as placeholders.

Then capture the essence of the conflict. Skip the fussy details. Keep some sense of the relationship -- who has power over who -- but then shoot for wording that might be dropped into any story. Once you've got the conflict -- and there's a lull in further conflicts breaking out on the show! -- then go back and adjust the emotion.

Example:
  • Happily her mother revealed the truth and the lie she had used to manipulate her daughter into doing as she wanted.
  • Angrily her daughter banned her mother from ever stepping foot in her home again.
"Happily" can now be changed to something like "In gleeful triumph" and "Angrily" to "In shocked betrayal."

Capturing Conflict Exercise 2
Internal conflicts, especially in visual media, may show up in dialog or caught between two other characters who personify the two ideas she's wrestling with.

Frame what she's conflicted about with OR between the two statements. (Joining them with AND can fog up the conflict. "And" can join two ideas that don't oppose each other.)

Examples:
  • The one she loves OR the one who loves her.
  • The prince who holds rocky power today OR the prince who may or may not gain favor.
  • Remain quiet and keep the peace OR speak up against a wrongness and risk ostracism.
Capturing Conflict Exercise 3
To dig deeper into what's energizing the conflict, briefly note what each choice puts at risk.

Examples:
  • Not choosing the one she loves risks losing him to someone else.
  • Not choosing the one who loves her risks losing someone who truly cares for her.
  • Choosing the one she loves risks a happy future if he never loves her as much as she loves him.
  • Choosing the one who loves her risks a happy future if her love never matches his.

WHAT CONFLICT IS NOT
In some explanations of conflict you'll see other story devices -- obstacles, goals, desires, and others -- swept under the "conflict" umbrella as though conflict were the only worthwhile device to energize a story.

In order to add conflict to your story, it helps to see the distinctions between the devices. And for conflict to jealously guard its unique identity! The other devices are eminently useful. Their importance doesn't need shored up by being called conflict.

An obstacle is not a conflict.
An obstacle blocks your character's way forward. But the obstacle doesn't feel a threat when your character pushes past it. It's not going to renew the conflict once your character moves on!

In a conflict the opposition will put obstacles in your character's path. And the opposition can even turn himself into an obstacle if he points a loaded wand at your character.

If the conflict is internal, the obstacle can be a feeling, an objection, created by the opposing idea to stop your character from going over to the dark (or light) side's point of view.

Obstacles can come out of nowhere, dropped by life. A lost communicator. A broken transporter. An ion storm. Cheryl St. John in Writing with Emotion, Tension, & Conflict calls obstacles (that aren't created by the opposition) delays. Use these sparingly. Readers read not for realism but for enhanced realism where the boring parts of real life are cut out.

Delays do have their uses. A random life event at the beginning of a story can force characters into a situation they wouldn't choose. Would Brad and Janet have entered Frank N. Furter's castle in Rocky Horror Picture Show if not for the flat tire? The core of what-can-go-wrong-will-go-wrong comedies are random life events. One side in a conflict can exploit random life events when he deliberately chooses a dangerous environment like turning onto the pothole-laden road hoping his opponent gets a flat tire (before he does!)

But beyond that readers will grow annoyed and bored with a story that promises escape but uses ordinary life as an antagonist to throw obstacles at your character.

A problem is not a conflict.
A problem is a more complex obstacle that needs solved to get past it. But complexity, not even with multiple intriguing steps that takes the whole book to work through, is not conflict.

A caper movie has one big problem, usually to rob something. The thieves break the problem down into smaller problems which they spend the whole story working on. But the thieves and the problem aren't the two sides pushing at each other. The conflict is between the evil casino owner who wants to keep his cash and the vengeful thieves who want to take it from him. The TDX-4040 security system and IronClad 7001 safe are the obstacles the casino owner puts between his cash and the thieves.

Yes, it can be argued that obstacles push back until a character gets past them. But make it easier on yourself and don't make that argument! ;-) Save the word conflict for two who are actively working against each other. Save the words problem and obstacle for things that get in the way but don't have a grudge against what your character's trying to do.

A desire is not a conflict.
Desire keeps both sides in a conflict pushing no matter how hard the other side pushes back.

But desire needs a direction -- a goal. Without a goal the character just yearns, his engine idling with no where to go.

A goal is not a conflict.
A goal gives desire a direction to push and pull your character in.

Both sides in a conflict will have desires driving them towards goals. When the goals are opposite or only one can have the goal, that insures the sides keep pushing against each other to remain in conflict.

Tension is not a conflict.
Tension can come from the threat of conflict -- a set jaw, a No Trespassing sign -- and from anticipating the next push back in a conflict. It can come from the threat of lots of other dangerous things. Iffy bridges. Walls closing in a trash compactor. Someone who isn't responding to repeated attempts to contact.

A struggle is not (necessarily) a conflict.
In a conflict your character will push forward while someone or something pushes back creating a struggle. But unless your character is moving towards something, a struggle is just floundering.

Obligations. A hated job. Restrictive traditions. Physical handicaps. Those can all create struggles for your characters. But if your character isn't struggling towards something, if he's just struggling to keep his sucky life from being suckier, then the struggle you've created is torment and torture not born of conflict.

Conflict doesn't drive a plot.
Conflict doesn't set a story in motion.
Conflict emotionally energizes a story. Conflict makes the story more interesting.

But it's confusing to cast conflict in the role of moving and driving. The purpose of adding conflict to a story is stop your character! To get in his way and test his resolve.

Motion and drive come from Desire PLUS Goal, that is, the opportunity to fulfill the desire.

Capturing Conflict Exercise 4
In your notebook, as you watch shows and read, write the character's goal in a single short (!) sentence. Then keep track of the obstacles she encounters. Make note of which are delays and which are organic, that is, created because of who she is (her flaw) and by what she does.

(From Writing with Emotion, Tension, & Conflict by Cheryl St. John.)

TYPES OF CONFLICT
There are two: internal and external.

Typically your character will wrestle internally and externally with big conflicts made up of lots of little conflicts. An internal conflict will pull him between two ideas, desires or emotions. An external conflict will be with someone or something who pushes him back away from his goal. And all along -- in every scene! -- there will be mini conflicts as he wrestles with emotions and people who want him to give up.

The external types of conflict are usually divided into, just to be confusing, two to seven different types. The shifting number isn't nearly as confusing as most explanations of what each are!

What's the difference between a T. Rex trying to eat your character (Nature), a vampire seeking to drain his blood (Supernatural), an android trying to execute him (Machine), Zeus throwing lightning bolts at him (god)?

In terms of conflict, nothing. The conflict for each is "Do I live life?" or "Do I give up life?" The plots -- the series of events and the motivations behind the choices made -- can be wildly different, but it doesn't make sense to let the outer wrappings of the two opponents define conflict. A struggle with someone who wants to kill your character isn't unique just because he can be seen through or pop fangs from his gums. All the above conflicts are a person going head to head against a powerful but defeatable opponent. There's no story reason to put them in separate types.

But what about: Your character is lost in the mountains as a blizzard rolls in (Nature)? Otherworldly forces force your character to face the sins of his past (Supernatural)? The God he's held faith in for fifty years has let an earthquake wipe out his home and family (God)?

Those definitely feel like very different conflicts. So rather than dump every robot story into Person vs. Machine and every shark story into Person vs. Nature, look for what unique questions you can force your character to struggle with by pitting them against a machine, God, fate, nature or society. Let the type of conflict be defined by what issues the two sides wrestle with.

Also see External conflict vs. Internal conflict, for a good clear explanation of the two.

Individual vs. Self
This is an emotionally-charged internal struggle between two choices.
  • Loyalty to King or God? -- Becket
  • Loyalty to family or love? -- Romeo and Juliet
  • Justice or revenge? -- Batman
  • A cloistered life or a secular life? Preserving your home or preserving your family's lives? -- Maria in Sound of Music
  • "To be, or not to be ...?" -- Hamlet
  • Logic or emotion? -- Spock
  • "Should I stay or should I go?" -- The Clash
Sometimes the struggle can be simplified to a progression of, This seems right! But, wait, it's wrong. How can wrong feel right? Can both be right? Which is right (for me)?

Sometimes it can be simplified as, I know I'm right. But, wait, my way made it worse. I need to try my way harder. But I'm making it even worse. That other way may work for some but that other way isn't me. How can I still be me if I have to be not me?

Both choices will have their upsides and downsides. Both mean losing something your character values. Both involve pain, fear, loss of identity, betrayal of others or of own values. And a potential host of other bad feelings your character doesn't want to feel. One thing your character is certain of, she can't have both! (Note: A story may resolve with her discovering a clever way she can have both, but the conflict -- and tension! -- throughout the story will come from her certainty that she can't.)

Remember, conflict isn't a struggle with a situation. Conflict is a struggle between two choices. There must be at least two (emotionally tearing) sides pulling in incompatible directions to have a conflict.

Picture shoulder angels. If both angels have convincing arguments, you've got a conflict. If you can frame the internal conflict with an OR between the two options, you've got a conflict. If both choices involve pain then you've got a compelling conflict.

As the story progresses, your character will learn more about both sides. Her feelings will grow and the balance will tip. But to keep the internal conflict compelling, keep the pain. A choice between a great love or the now-bitchy family has lost its internal conflict. But a choice between a great love (hated by the family) or a beloved sister (who will be cut off with the family) maintains the emotional, opposing pulls.

There's more at Paper Wings, Man Vs. Self: How To Create Heroes With Heart. (If you register at their site, Creating Conflict, the PDF download, has all of their articles on conflict.)

Individual vs. Individual
Individual vs. person, ghost, tiger, vampire, self-aware computer, Romulan, android, (little g) god ... Anyone or anything who feels your character threatens what they care about and directs energy to stop your character. Pretty self-explanatory!

Except that not all conflicts within a story are between the good guy and the bad guy. Some stories don't even have a bad guy. Quite often the most interesting conflicts are between allies, friends, loved ones, love interests.

Examples of conflicts that aren't all just good guy versus bad guy. Often the external conflict with an ally will reflect an internal conflict your character struggles with. (I listed one conflict for each pair but those certainly aren't the only issues they conflict over.)
  • Buffy vs. Giles, Physical or Mental -- Buffy the Vampire Slayer
  • For that matter, at various times, anyone vs. anyone else, My way or Their way -- Buffy the Vampire Slayer
  • Woody vs. Buzz, Caution or Impulse (among many others!) -- Toy Story
  • Kirk vs. Spock, Action or Thought -- Star Trek
  • Half a future couple vs. the other half of a future couple -- any love story
  • Clarice Starling vs. Hannibal Lecter, Facts or Passion -- The Silence of the Lambs
  • Spider-Man vs. Peter Parker, Responsibility or Self -- Spider-Man
  • Nicholas Angel vs. Danny Butterman, Law or Good -- Hot Fuzz
  • Felix Unger vs. Oscar Madison, Neat or Sloppy -- The Odd Couple
  • Toula Portokalos vs. her father, New or Tradition -- My Big Fat Greek Wedding
  • Light Yagami/Kira vs. L, Justice or Law -- Death Note
  • James Bond vs. Q, Winging it or Planning -- James Bond films
  • Individual who wants to live vs. Individual who wants to eat them, Live life or Feed life.
A more thorough discussion is at Paper Wings, Man Vs. Man: The Hero’s Mirror.

Calvin as a Force of Nature
Individual vs. Unstoppable force (Nature)
In Creating Conflict and at TV Tropes a good distinction is suggest between person and Nature. A person can be defeated where as Nature can't. Nature can only be survived or (in some cases) changed.

Storm, avalanche, supernova, forest, desert island, cave or mine, plague, earthquake, fire, drought, arctic freeze, heat wave. And, depending on the context, a pack of starving wolves, swarm of bees, zombies, alien invasion, Godzilla. Anything your character is certain is Death Incontestable.

Which means conflicts with animals -- unless the character and reader are convinced they can't be defeated -- are usually Individual vs. Individual. Moby Dick, that's often cited as a conflict with Nature, isn't even that. The whale wasn't in conflict with Ahab. The conflict between them was all in Ahab's head so it is a conflict with self. As Starbuck says to Ahab, "Moby Dick seeks thee not. It is thou, thou, that madly seekest him!"

Ayn Rand argued that "man against nature" is not a conflict because Nature has no free will and thus can make no choices.

In Creating Conflict (the chapter is linked below) the argument is that in most stories Nature is an obstacle. Nature creates an internal conflict when it's used to force your character to confront the certainty of her death. A flooded basement is an obstacle. A forty foot wall of tsunami rushing at your character is unstoppable. She might be able to get out of its path or find cover but she can't stop the wave.

Whether Nature can be in conflict with a person or not, nature stories can be compelling because of what's at risk. The deadly external danger makes every choice an internal conflict between life OR death: Do I choose this less difficult path that is more dangerous OR this more difficult path that may up my chances of survival? Do I stay here where it's less safe OR brave the danger of travel to a safer location? And since Nature is unpredictable, even the safer choice is never safe.

Examples
  • Chuck Nolan vs. the island -- Cast Away
  • The Poseidon survivors vs. the ocean -- The Poseidon Adventure
  • The population of Pompeii vs. the volcano -- Pompeii
  • humanity vs. the Andromeda Strain -- The Andromeda Strain
And at some points, when the characters knew their only chance of survival was to flee or bunker down ...
  • The scientists vs. the dinosaurs -- Jurassic Park
  • Living people vs. zombies -- The Walking Dead (among many others)
There's a very good discussion of this topic at Paper Wings, Man Vs. Nature: It’s More About Dying Than Surviving.

Individual vs. Society (ideology, religion, tradition, culture)
Individual vs. rules, laws, customs, cultural norms, beliefs, attitudes. Society can be the society of a country, a town, a clan, a religious group, a family maintaining years of tradition.

I like what Lora Innes at Paper Wings says about conflicts with society. "Your hero is part of the group he is either working to change or rebelling against. And by being a member of the thing he seeks to change, he first must change himself."

If your character has already separated herself from the society she objects to (and doesn't want back in), then it's her against a pervasive faceless storm of people. In other words a conflict with Nature.

Fighting society while remaining a part of it is what separates this conflict from the others. Ask what is the "cost to relationships, cost to reputation, cost to future, cost of failure" if your character takes on this battle? (The link below goes into more and better detail than I can.)
  • Mr. Banks vs. narrow expectations of Edwardian business -- Mary Poppins
  • Light Yagami/Kira vs. Japan's justice system -- Death Note
  • The Parr Family vs. Superhero Protection Program -- The Incredibles
  • Atticus Finch vs. racial prejudice -- To Kill a Mockingbird
  • Ferris Bueller vs. the school system -- Ferris Beuller's Day Off
  • Calvin vs. modern society -- Calvin and Hobbes
  • Joseph Merrick vs. Victorian society prejudice -- The Elephant Man
  • Erin Brockovich vs. the power company -- Erin Brockovich
For further examination, check Paper Wings, Man Vs. Society: Your Hero Will Change The World & The World Will Change Your Hero.

Individual vs. Machines and Technology
It's a rare conflict with a machine in a story that rises above a physical struggle between individuals, one who just happens to not be biological.

The true conflict comes from the internal conflicts the encounters stir up so, like Nature, Machines and Technology are catalysts for internal conflict.
  • If humans create a machine that's indistinguishable from a human is the machine a human? How would the machine answer that question?
  • If a human is enhanced with mechanical parts, at what point does he become machine and not human?
  • Machines are our creations and we their Creators. What if the creations decide their Creators aren't worthy enough to serve?
  • How will our view of ourselves as creators of machines change when the machines create machines to help them?
And a billion other questions that could be asked and explored. Perhaps asked by machines who are programmed to write stories. What kind of takes would machines have on Machine vs. Human conflicts?

Examples:
  • David Bowman vs. HAL 9000 -- 2001: A Space Odyssey
  • Deckard vs. the replicants -- Blade Runner
  • The Connors vs. T-1000 -- Terminator 2: Judgement Day
  • Neo vs. the Matrix -- The Matrix
  • humans vs. a host of machines -- Battlestar Galactica
  • Data vs. himself -- Star Trek: The Next Generation
  • various crews vs. the Borg -- several Star Trek series
  • Buffy vs. Adam -- Buffy the Vampire Slayer
  • WALL·E vs. pretty much everything -- WALL·E
  • The crew vs. Bishop -- Alien
  • The Iron Giant vs. those who saw him as the weapon they created him to be -- The Iron Giant
There's a passionate examination of machine conflicts at Paper Wings, Man Vs. Machine: The Storyteller’s Frontier.

And a BBC article about the conflict looking at movies and reality, Why do we love the drama of Man versus Machine?

Individual vs. Fate, Destiny or The Truth
The unique aspect of a conflict with Fate is the character believes the conflict is external. He thinks the conflict is, "The future I choose" vs. "The future Fate has chosen for me." But in reality "The future Fate has chosen" doesn't offer options. The true options are an internal conflict: accepting the Fated future or being miserable with the Fated future.

Fate can be the inevitable or the truth like death, aging, change. Or being The Chosen One. Most time travel stories either blatantly ignore or wrestle with the question of whether fate and time are fixed.

A conflict with Fate involves accepting death. It's the death of a life that was imagined, the death of a dream, the death of your character's identity, the death of free choice, the death of his view of reality.

The fives stages of grief might be helpful as your character works from denial through to acceptance or whatever stage he stops at.

Examples:
  • Harry Potter vs. the prophecy.
  • Scott Calvin vs. the Santa Clause that must turn him into Santa -- The Santa Clause
  • Luke Skywalker vs. his destiny to bring balance to the Force.
  • Julius Ceasar vs. the soothsayer's warning against the Ides of March.
  • The Connors vs. the Judgement Day that the Terminator has already experienced in the future.
  • George Lass vs. fated deaths -- Dead Like Me series
  • Phil Connors vs. his (repeating) life -- Groundhog Day
Individual vs. God
If God is a superhuman being, conflicts could fall into Individual vs. Individual. Just an individual with kick-ass powers.

If God can't be defeated, conflicts could fall into Individual vs. Unstoppable force.

Could if you don't exploit some unique aspect of the relationship. One unique quality is the element of faith in a being who can't be proven to exist. If events suggest God has betrayed the character's trust and faith, that sets up an internal conflict that can't easily be sparked any other way.

What if God were proven to exist? Does that make faith meaningless? Should God then be brought up on charges of negligence for standing by allowing bad things to happen to good people?

The Christian -- or the secular Christian -- version of God offers some unique conflicts. A God who commands his followers to love him but who can squash them like bugs creates a version of love that is intertwined with fear. Is obedience love and love obedience? Is free will really free will if choosing from column B gets you a trip to Hell? Might there be a reflection of the parent/child relationship?

Examples:
  • Steambath, a play (available on DVD) by Bruce Jay Friedman, explores the after-lives of several characters who pause in the steam bath before passing on. God is the steam bath attendant, though most of them don't realize this.
  • In Joan of Arcadia, God appears in different human forms, interacting with Joan.
  • Supernatural series, from the 4th season on deals with a God that even the angels have never seen.
Portrayals of God in popular media could be a source for inspiration.

Another page, though parts of it are heavy going, is Existence of God. It covers the history of proving and disproving both the Christian and Hindu creators.

Individual vs. the Supernatural
Quite often in modern fiction the supernatural is usually either Individual vs. Individual or Individual vs. Unstoppable force. Again. In most TV shows the supernatural is just natural but hidden from ordinary people. In fantasies what's supernatural to the reader is just natural to the characters.

What questions can you manipulate your character into struggling with that can only be done with a supernatural opponent?

It used to be that ghosts and other supernatural entities were used for psychological assaults, in some cases turning an internal conflict into an external conflict or forcing a character to face something internal that they'd suppressed.

Poe's tell-tale heart was, it's suggested, the narrator's guilt over a murder he had committed. The spirits forced Scrooge to face a past, present and possible future he was refusing to look at. Banquo's ghost is MacBeth's murderous choices taking form.

At one time the supernatural could be used to force characters to question their understanding of reality. That's harder to pull off now! That story has been told so many times, readers are anxious to move past the "Is this real?" to get to something fresh. Though a person of faith facing an entity that causes him to question what he believes, and his struggle to reconcile the new and old knowledge hasn't been exhausted. And how does an atheist reconcile holy water, holy ground and crosses if they can ward off supernatural beings?

Examples:
  • Everyone vs. the birds -- The Birds
  • Benjamin Button vs. his reverse aging -- The Curious Case of Benjamin Button
  • Scott Calvin vs. his old life -- The Santa Clause
  • humanity vs. Death who's off the clock, Death vs. life as a human -- Death Takes a Holiday
  • Alice and logic vs. Wonderland -- Alice in Wonderland
Joyce Fetteroll ©2014

Wednesday, March 26, 2014

Spring Fever

Spring Fever is an annual condition that strikes everyone in the world of Beldeen. For a week everyone goes a bit crazy. Everyone has always prepared for it. No one expects to get any productive work done.

Now there's a cure for Spring Fever. But this is tradition! It's natural Beldeenian biology! Sure some things still need to get done during Spring Fever. Kids need fed. Fires need put out. Prisoners need watched. But there's pressure for everyone to take the cure and stop being so foolish for an entire week.

Write a scene, a short story, even a poem :-), with characters on either side of the issue. (You can decide how crazy "a bit crazy" is.)

Wednesday, March 19, 2014

Beachballs and bumblebees

Aggie wanted the bag of marbles.

Well, that's not particularly interesting! Without emotional connection, who cares whether he or she gets the marbles?

So create some emotional significance! Choose three very different Aggies. The setting can be contemporary, fantasy, historical or whatever. Think outside the character box. If one Aggie is a child, make another an adult. Mix the sexes. Change their economic station. Choose a different country. Make one an animal. Or an alien.

In a brief paragraph, describe what the marbles mean to Aggie. Are they a symbol of abundance? Do they connect to the past? Are they a rarity? Do they feel like love? Perhaps it's what Aggie wants to use them for that's emotionally charged. What's at stake if Aggie doesn't get the bag of marbles?

Wednesday, March 12, 2014

Astro logical

by Anne-Catherine Becker-Echivard
Pick your favorite profession, contemporary, fantasy, future, historical. Now pick three astrological signs, perhaps one each from the three different types (cardinal, fixed, mutable. Scroll down to the list of Conflict behaviors for these.)

Based on the traits below (or your favorite description of zodiac traits) create three characters.

Then set them loose in a scene together.

Basic character traits
  • Aries - Very forceful confrontational voice, fiercely independent, extremely competitive, freedom-loving, adventurous, enthusiastic, bold, ambitious, athletic, impulsive, reckless, dynamic, powerful, overly-confident, loud, warlike, blunt, hasty, hard-headed, stubborn, strong-willed, hot-tempered, rude, selfish, impulsive, enterprising, a risk-taker, an achiever, tends to act first and think later, the unstoppable force.

  • Taurus - Loves nice things, can come across as extremely materialistic, enjoys the better things in life, sometimes slow to act, great at managing money, loves the outdoors and doing outdoor activities such as farming or gardening, very practical and down to earth, strong appetite, attracted to construction, dislikes change.

  • Gemini - A good arguer, witty, adaptive, flirtatious, playful but may come across as offensive, a trickster, inconsistent, could be touchy, easy to please, intellectual, chatty, quick-witted, a social butterfly, knowledge-seeking, changeable, likes reading, writing and mental games, great at multitasking.

  • Cancer - Very sensitive, has unpredictable moods, romantic, nice, sweet, caring and nurturing, motherly, homey, likes home-cooked meals and quality family time, is socially conservative, and withdraws from the scene when hurt or offended.

  • Leo - Loving, sensitive, loves children, likes luxury and jewelry, bigger-than-life attitude, bold dramatic attitude, ambitious, very demanding, wants to be the center of attention, smart, arrogant, pompous, conceited, intelligent, loud, loyal, strong-willed, tremendous vitality, highly attractive with a distinctive thick mane of hair.

  • Virgo - Perfectionist, critical, detail-oriented, fastidious, practical, intelligent, sharp-witted, keen intellect and powers of observation, shrewd, penetrating, great mental dexterity, judgmental, opinionated, naturally shy, organized, tries to be healthful, likes order and cleanliness, likes simplicity in decorating, knows how to prove points in arguments.

  • Libra - Indecisive, flirtatious, frivolous, graceful, diplomatic, likes equality and justice, loves beauty and beautiful things, a social butterfly, lazy, polite, gracious, has pleasant manners, idealistic, attractive, a peacemaker, makes a great judge.

  • Scorpio - Secretive, passionate, confident, loyal, athletic, hyper-sensitive, mysterious, penetrating, investigative, powerful, sexual, resourceful, jealous, controlling, hot-tempered, magnetic, strong-willed, resilient, resourceful, great stamina, revengeful, self-mastery orientation.

  • Sagittarius - Adventurous, independent, friendly, enthusiastic, broad-minded, overly-optimistic, brave, intelligent, charismatic, flirtatious, rebellious and freedom-seeking, dislikes restrictions, talkative, natural entertainer, impulsive, exaggerating, over-indulgent, blunt, a risk-taker, has child-like wonder, always hungry for knowledge, opportunistic, philanthropic, philosophical.

  • Capricorn - Stubborn, argumentative, stingy, mature/reserved character, cold and detached, cautious, generous, hard worker, very ambitious, likes responsibility, self-disciplined, loves to tease, respects authority, status-seeking, career-oriented, remarkable endurance and patience.

  • Aquarius - Loves to help others, liberal, democratic, humanitarian, broad-minded, likes social equality, a reformer, freedom-oriented, cool, cold and indifferent, eccentric, erratic, rebellious, unpredictable, highly opinionated, original, one-of-a-kind, friendly, sharp-tongued, idealistic, inventive, quick to change mind, resolute.

  • Pisces - Sensitive, friendly, compatible, beautiful eyes and smile, imaginative, escapist, lazy, can be moody, likes to take care of others, offensive.

Conflict behavior
  • Cardinal (Aries, Cancer, Libra, Capricorn): Usually responds to conflict with a bold, decisive, instinctive action in an attempt to trump the assault. Easily motivated to start tasks.

  • Fixed (Taurus, Leo, Scorpio, Aquarius): Tends to hold in their reaction and respond that the attempt to hurt them was futile, with passive aggressive behavior or with silence. Concentrates on finishing things well.

  • Mutable (Gemini, Virgo, Sagittarius, Pisces): Tends to be artful with conflicts, and is known to try to avoid arguments. Good at motivating people.

(List of traits from How to Guess Someone's Astrological Sign.)

Friday, March 07, 2014

Once Upon a Paragraph

Gary Provost, a writer of writing books, said in How To Tell a Story that 90% of books have some form of the following plot:
Once upon a time, something happened to someone, and he decided that he would pursue a goal. So he devised a plan of action, and even though there were forces trying to stop him he moved forward because there was a lot at stake. And just as things seemed as bad as they could get, he learned an important lesson, and when offered the prize he had sought so strenuously, he had to decide whether or not to take it, and in making that decision he satisfied a need that had been created by something in his past.
How very clever! He's got all the elements, from inciting incident to black moment to character growth all in one paragraph. :-)

Wednesday, March 05, 2014

Jamie Smiles Investigations

Jamie Smiles is a crime investigator in a future Earth that includes enclaves of otherworld species. The most recent crime involves the headless corpse of a Slarpeon male.

Headless males aren't unusual among the Slarpeon. After mating, the female removes the male's head for preservation and the body is ritually disposed of. This body was found outside the enclave. Though his sperm sack had been ruptured no one has claimed to have mated with him.

This particular male was odd for a Slarpeon. Rather than the manual laborer most males are, he had demonstrated artistic talents that his hive had given him the freedom to pursue.

So, what's behind the crime?

Wednesday, February 26, 2014

Ritual enhancements

Maori Haka
Create two scenes for characters who have adopted superstitious rituals to aid them in their endeavors. One scene is of a high-end thief, perhaps art, jewelry or something uniquely valuable to his or her world as the thief prepares for the evening's heist. The other is of the law officer who has been on the thief's trail for 19 years as she or he prepares to finally capture the thief.

(As always, you needn't confine yourself to contemporary times or even Earth based.)

Friday, February 21, 2014

Supernatural writing prompts from LitBridge

What a wonderful collection of story and poetry prompts at LitBridge about the supernatural (and mundane) world. The site is dedicated to helping writers of all levels become more professional with information about writing programs, contests and more.

On the writing prompts page, are links organized by a huge collection of categories from seasons, to mythological creatures, to beautiful words. Each page has 10-30 prompts. The collection the supernatural links below were taken from is about halfway down the page.

Creative Writing Prompts About Aliens
Creative Writing Prompts About Demons
Creative Writing Prompts About Dragons
Creative Writing Prompts About Dreams
Creative Writing Prompts About Fairies 
Creative Writing Prompts About The Future
Creative Writing Prompts About Gargoyles
Creative Writing Prompts About Ghosts
Creative Writing Prompts About Heaven
Creative Writing Prompts About Hell
Creative Writing Prompts About Mermaids
Creative Writing Prompts About Superheroes
Creative Writing Prompts About Werewolves
Creative Writing Prompts About Vampires
Creative Writing Prompts About Zombies
What If Creative Writing Prompts

Here's a sampling:

Write a story about a man who virtually chats with an alien unknowingly. The man starts to fall in love with this mysterious stranger. What happens next?

Write a poem about yourself from the perspective of an alien.

Write a story about different dragons from varying cultures meeting each other. Try to research how different cultures perceive dragons to better give your dragons more realistic and culturally appropriate attitudes.

Write a poem about how to care for a dragon.

Write a story about a demon who wants to become good but faces resistance from fellow demons.

Write a story about a baby demon who is learning to help humans sin, possess their bodies and ultimately take their souls.

Write a story from a perspective of a main character who is looking for a dream. Why is he or she looking for a dream? What happened to their prior dreams? Describe the journey.

Write a poem about alternative views of fairies such as them being demoted angels, having connection to death, or as another race.

Write a story about a young psychic who discovers that she has the ability to communicate with people living in the future.

Write a poem with the following words: granite, evil, aqueducts, and gargle.

Write a story about a human who wakes up as a stone gargoyle. The story could be about the people the human gargoyle sees everyday. During the story, the gargoyle may be turned back into a human. What happens next?

Write a story that is entirely based in a ghost world.

Write a poem in the form of a ghost story.

Read literature that describes what heaven is like. This literature can include various religious texts. Write a poem dedicated to each of these types of heavens. Feel free to include your own perceptions of these heavens.

Write a story where the main character has a genuine fear of spending eternity in heaven.

Write a story where the main character is trying to be recruited by Lucifer to become the Antichrist.

Write a story about mermaids who live in modern civilization and have regular jobs, schedules and responsibilities.

Write a story from the perspective of the villain who happens to be a close friend or lover of a superhero.

Write a poem about a modern or fictional superhero who has truly failed in a crisis.

Write a story that begins with a superhero’s death and how the world reacts to it.

Write a story about a child who is raised in a family of werewolves. However, he did not inherit the family trait of being a werewolf.

Write a poem about transformation. Try to use an analogy that compares transformation with the type of transformation a werewolf may have.

Write a poem with the following words: mocking, blood, fangs and immortality.

Write a poem about the relationship between vampires and religion.

Write a funny story about a character who truly believes he/she is a vampire even though he may not be one at all.

Write a story about a zombie who slowly falls in love with another zombie.

What if your friend joined a cult that worshipped dogs?

What if your pet could only talk to you at midnight for an hour?

What if you could make any religious belief truly real? Which one would you pick and why?

Wednesday, February 19, 2014

A lóng he came ...

Write a scene introducing a character who looks human but is actually a dragon -- without revealing their secret. Describe their movements, the quality of their voice, their quirks. Anything that a reader would later recall as clues when the secret is later revealed. Include dialog. Perhaps the dragon is a shop keeper, a client, a new neighbor.

This reminds me of a wonderful book, Tea with the Black Dragon by R.A. MacAvoy. I don't think the sequel lived up to it, but this one had a lovely relationship between the main character and the man who aids her in her quest for her daughter, who may or may not be a 2000 year old Chinese dragon.

Sunday, February 16, 2014

Wednesday, February 12, 2014

In the end ...

Here are the last lines. Pick one and write the story that led up to it.
  • A unicorn followed her. Then another. Then another.
  • It was satisfying punishment for the worst Best Chef in the kingdom.
  • He dropped a match onto the mound of torn papers, splintered furniture and bloody rags. He waited until the fire strengthened, devouring the memories more greedily. Then he left, locking the door behind him.
  • We descended into the tunnels before the dawn could heal us.
  • Sure it was just a chicken. But what a magnificent chicken it was.
  • She set the golden tooth into the tray and closed the slender drawer on the cabinet. Now her hobby didn't seem so strange anymore.
  • "Peacekeepers," he grumbled, watching the last departing vehicle turn the corner. He turned back to the disheveled room, picked up a broom and began sweeping.

Thursday, February 06, 2014

Fairy-fied

Retell a fairy tale starring your characters. From a current work. From a favorite work. From several works. Have them meet!

Or create a fairy tale world populated by your characters. Who would make the best Cinderella? The best Big Bad Wolf? The best giant slayer? Might there be surprising age, sex and species differences?

(I do go on fairy tale kicks occasionally!)

As mentioned in last week's post, a fairy tale list (and links to other lists) is at Fairy Tales, and a random picker at Tale of Two Tales.

Wednesday, January 29, 2014

The aftermath

The outcomes of humiliation and defeat are familiar in fairy tales but not what happened afterward. What happened to the emperor after his embarrassing buff walk through town? What happened to the duck family who was so clueless that one of their children wasn't even a duck? What happened when all the servants in Sleeping Beauty's castle found out the king knew they might all lose everyone and everything they had if his daughter touched a spindle? What happened to the rabbit who lost to the turtle when his family and friends found out?

The fairy tale list (and links to other lists) is at Fairy Tales, and a random picker at Tale of Two Tales.

Inspired by B.J. Novak's "The Rematch", a tale of what happened to the rabbit who lost to the tortoise in One More Thing: Stories and Other Stories.

Friday, January 24, 2014

Telescopic text

Oops! Should be one EYED cat.
Go to Telescopic Text. Click on Write.

Start with a simple sentence. Expand it, word by word, phrase by phrase to something gloriously twistedly complex.

See if you can create a story that grows from a simple sentence. Or keep changing the meaning of the sentence by adding words to what you have. Or just play to see where it takes you. :-)

To see a demo, you can play with Joe Davis's "I made tea."

There's a page with some Ideas to get you started and another on How to use the writing tools.

You'll need an account to save any Telescopic Texts you create. The feature to add your texts to the gallery seems not to be working. (The site hasn't been updated since 2011 so that's unlikely to be fixed. But creating a text still works fine.)

Wednesday, January 22, 2014

Frosty freeze

Jack Frost is tired of the negativity that goes with his job. Everyone complains about the cold and the snow. No one appreciates the beauty. They only care how it inconveniences them. Bunch of ingrates!

He wants a new job. He's in your office at Career Counseling For Magical Beings. Get to know him. Help him find a job he'd be perfect for.

In the process, perhaps after he's tried some of these new jobs, talk about what other magical beings have said they'll do or are doing with his Jack Frost job.

Sunday, January 19, 2014

Chicken's Wedding

Click for LARGER view (That now works!)
(Click the magnifying glass on the larger view in the lower right to zoom in on the details.)
Chicken's Wedding is the actual title of this piece. With monkeys. Which look kind of lizardish. (Sorry ancient artist. Quite possibly he'd never seen a monkey and was only copying other artists' monkey drawings (who were copying ... etc.))


It's a singerie, which Wikipedia tells me is "Monkey Trick", a picture depicting monkeys aping (ha!) human behavior. There's a human head on the front of the wagon drawn by leopard lion dogs which are either giant or the horses and elephants are tiny. The more you study it, the weirder it gets.

(Singerie: The Chicken's Wedding at the National Tile Museum in Lisbon.)

Wednesday, January 15, 2014

Frost and Fire and Rock

For decades global warming has shrunk the borders of the Frost Giants' land. As the thawing pushed them deeper into their territory, the frost giants begged their queen to do something. As is the nature of government, it wasn't until the ice palace's south tower collapsed that the queen decided it was time to take action. She has declared war on the Fire Giants. Ice dragons, ice fairies and other ice creatures are gathering.

The Fire Giants claim they aren't responsible. They say it's clearly the Sun God's wishes for them to have the world's largest volcano. The deep ice that had kept the volcano from the Fire Giants has melted. Now the giants have set up a mining operation. Fire dragons, fire demons and other hot beasties are flocking to defend the site.

It would all be no one else's business if it weren't for the Rock Giants who live down slope. The Rock Giants have been carving the mountainous foothills into wondrous sculptures for 10,000 years. If the Frost and Fire creatures clash, the tsunami of melting runoff from their fighting will wash everything away.

It's up to three friends from the three elements to find a peaceful solution.

Wednesday, January 08, 2014

The Bingo Queen and the Health Nut

Health Nut by Jayson Hotchkiss
Pick two from below who have naturally opposing views on life. Two who will clash as soon as you throw them together. Now put them in a scene or short story where they're vying for the same thing or must cooperate. The last piece of pie? The beneficence of a benefactor? Stuck in a vampire's holding pen together?

I stumbled across this list while moving stuff to a new computer. I'm guessing it came from a NaNoWriMo "take a character/leave a character" folder someone created in 2006. Now the NaNoWriMo forums have an official Adoption Society folder with lots of things to adopt like plots, names, titles ... fears, super powers. Though the forums are archived and cleaned out each year, the link should hopefully keep working.

  • bingo queen
  • bartender who doesn’t drink
  • nerdy criminologist, expert on criminal psychology, loser on figuring out social skills
  • collector of orally-told, ancient stories, wandering about the continent
  • ninja incompetent
  • bumbling wanna-be ruler of the world who attracts others eager to change the world, looking for a leader
  • seller of addictive substances who is convinced he’s being a help to society
  • rescuer of animals in a world that treats them as disposable
  • teenage emperor pretending incompetence as he ferrets out the ones who would take over his empire
  • world weary vampire, who doesn’t have the strength of character to kill himself
  • proselytizing health and exercise nut afraid of dying
  • cherry picker who dreams of climbing the highest peak in the kingdom
  • spirit who has returned 20 years after his death when the fortune and estate he spent a lifetime building is being frittered away
  • young boy left behind by his migrating family is taken in by his tribe's enemy
  • spiritual girl in a land of atheists
  • vampire that feeds off fear
  • girl possessed by her dead grandmother as she seeks to continue her research into a cure for a disease that is wiping out the neighboring enemy
  • crazy cat lady who is the contact point for her cadre of cat spies.
  • wish-fulfillment fairy who can’t fulfill her own wishes. She was cursed by an ogre who was killed in retaliation by her boyfriend.
  • giant with a mullet and an obsession for butterflies