The Skill of Self-Confidence
Any good dramatic story always starts with a conflict. It is not necessarily to show it on the first page, but by the end of the first third of the narrative, it must be stated. Otherwise, the reader may simply get bored. How many times have you read books in which something is happening page after page, but it is still unclear why and for what purpose? It’s so because the conflict is not specified, and the reader can’t understand the essence of the events going on.
I believe the conflict should include well-defined powers. That’s the best way to convey to the reader “who is who.” Both sides should have a specific goal, the achieving of each is vital.
Let’s take an example:
Two couples with children go on two-day countryside party. In the evening, a poisonous snake bites the girl. The father of the second family tries to help her, but the snake bites him too. The venom is deadly, but the man has an antidote. Two close-knit families at once become fierce enemies. Here the conflict appears.
In this story, the heart of the conflict is the vial of antidote. It is very important to take something concrete as a core. As for the clash of extremes, the more contrast the opposing characters, the brighter the conflict. Don't forget that the parties should create barriers to each other. In no case, their confrontation should be lethargic! The farther they are willing to go, the more exciting the story.
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Creativity and invention knows no age. It’s amazing what students can create if they believe they have a gift to offer the world, one that can make a difference.
Natalie Hampton, a 16-year-old teenager from California, did just that. She was attending a new school in seventh grade, and wound up eating lunch alone the entire year, because the thought of approaching a table of strangers and getting socially rejected was too intimidating. Five years later, at a new school where she was thriving, Natalie still remembered how ostracized she felt.