In this story type, the hero and their comrades are attempting to thwart death in the face of an overwhelming physical obstacle, usually in the form of a figure of nature.
This isn’t to say that an adventure story can’t have a villain. However, the primary threats will always come in physical form, forcing the characters to dig deep and find the strength and resolve to endure.
Here’s the underlying principle: your characters are people. People are complicated; I suspect you might know a few. Characters are much the same way. Your reader will relate to them if they behave like people, and for characters to behave like people, they need to be built like people.
You need to know your characters like you do other humans, and these six prompts will help you pull that off.
We often think that to create conflict we need to show spectacular events. For example, a car chase, an argument between lovers, a fistfight, or the threat of a nuclear explosion. Or we think of conflict as some kind of internal suffering: depression, longing, or pain.
But the truth is that if events and emotions were the only elements of conflict in our stories, we’d have some pretty flat stories.
Conflict, in good stories, is not about spectacular events or painful emotions. Good conflict is about values.
Comedy, as a plot, refers to a specific narrative structure characterized by misunderstandings, mistaken identities, and humorous situations that lead to a resolution and a happy ending.
In the context of storytelling, a comedy plot often begins with a scenario that creates conflict or confusion, particularly between characters who are romantically interested in one another but are kept apart by various comedic obstacles. These obstacles—often fueled by folly, deception, or societal norms—culminate in a series of humorous events that ultimately resolve the conflict, allowing the characters to unite or find happiness.
The two best known of the basic plots outlined by Christopher Booker are comedy and tragedy, These two basic plot types make up the two halves of the drama masks that represent classic theatre, and you can categorize most of Shakespeare’s plays into one of the two. Today we look at tragedy story structure and examples.
How do you create memorable characters? What’s characterization, and how does a writer turn a name on a page into a person so vivid and compelling that you imagine they’re real?
In this article, you’ll learn what characterization is, when it matters, and how to apply it to your characters and stories. You’ll also see some examples of characterization, and explanations of when not to prioritize characterization over other story elements.
