“conflict” in Scaramouche by Rafael Sabatini

·     The entire story is a series of obstacles for Andre-Louis to overcome. Every other character exists mainly to create such obstacles.

“conflict” in Silence in Hanover Close by Anne Perry

·     “Ballarat disliked Pitt and resented his manner, which he considered insolent.” … we know early on (p3) that Pitt’s boss doesn’t like him, and we sense why. This enmity between the two turns out to be of real significance as the story unfolds.   ·     Mobray was “told … by the powers that be as I should keep to me place …” Pitt will not have a clear path with this investigation. Shortly after, Mobray tells Pitt, “Don’t envy you.” Pitt says to himself … “Damn Ballarat and the Foreign Office.”   ·     “It took him a quarter of an hour to persuade the right officials and finally to reach the department where Robert York had worked until the time of his death.” Pitt overcomes a small obstacle, suggesting that perhaps he will overcome the larger obstacles as well.   ·     Charlotte explains to Radley how she will investigate Pitt’s case. “But will Pitt approve?” … “Thomas won’t have to know.” This is conflict coming big time. However, when Pitt finds out what Charlotte has been doing, he is so appreciative of what she has learned (about the woman in cerise being seen in the Danver house as well as the York) that he expresses no anger. Not realistic.

“conflict” in The Bridge of San Luis Rey by Thornton Wilder

·     between Dona Maria and her daughter Dona Clara, who “barely glanced at the letters.”  ·     between the twin brothers Manuel and Esteban over Manuel’s love for the Perichole.  ·     between the Perichole and Uncle Pio, as she grows too much a lady to be seen with the man who had everything to do with her success.

“conflict” in Write Away by Elizabeth George

·   plots must have conflict  ·   Events occur as the conflict unfolds  ·   Conflict is a form of collision  ·   Conflict can be created by resistance against a character’s desires. Resistance can come from within the character himself, from nature  ·   Conflict adds tension to the novel  ·   The story’s conflicts are reflections of the theme  ·    Put your characters into conflict  ·   Look for subplots (which provide opportunities for conflict) based on character’s strengths and weaknesses  ·   Opening scene either possesses or promises excitement, intrigue, conflict, foreshadows problems; establishes atmosphere, place, some characters (not necessarily the main characters)  ·    Characters are interesting in their conflict, misery, unhappiness, confusion; not their joy and security  ·  What does the character do when under stress?  ·   conflict is what brings characters to life and makes them real for the reader  ·   Put the character to the test by putting him into conflict; he then springs to life, forced to make a decision, to act on that decision  ·    create a situation where the characters are bonded together and are unable to escape being in conflict with each other; then “heat” the situation  ·  conflict is a character’s will in collision with something else  ·   a character’s inner conflict will show that he is real  ·        conflict works best when it is rising conflict, builds over time, reveals more facets of character as incidents occur  ·     start with an idea that contains one of: the primary event, the arc of the story (beginning, middle, end), or an intriguing situation that suggests a cast of characters in conflict  ·     Every scene must have conflict.  Begin at the low point, let the tension rise to a climax, then provide a resolution which propels the entire novel forward.  ·   foreshadow future conflict with the present dialogue  ·   after writing dialogue, evaluate it. does it add tension? does it demonstrate conflict between characters?