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Showing posts with label #amwriting. Show all posts
Showing posts with label #amwriting. Show all posts

Weaving Separate Plot Threads

A parallel plot tells two stories of equal importance, moving from one to the other and back again as opposed to a subplot. It can be a past versus present story. It can be one or more characters whose plots intersect. The more threads, the weaker the connection to the story. It can be done but requires advanced craft to do it well enough that you keep the reader entranced.

It can be hard to get caught up in one plot when the writer shifts the verbal camera between separate story lines, especially if they don’t connect. The potential for plot holes is enormous.

If you choose a parallel plot or plots, ask yourself these questions:

1. Who do you want the reader to care about?

Splitting the focus between two (or more) protagonists weakens the reader’s attachment to them. Every time you move the verbal camera between them is a point where they can put the book down. If you fail to make them care about either of them, they may skim past those scenes or simply quit reading. Every single thread needs to have its own impact and tension. Too many point of view characters can stretch the reader’s connection to the story. Do you truly have two protagonists or does a secondary character just play a main part? The love interest really isn't a protagonist. There is (almost) always a person's whose POV starts the ball rolling and has the decision to make, action to take, and stakes for not doing it. Just because a character's POV is followed does not make them a protagonist in terms of story cast. You can have five a-list stars in a movie. They aren't all protagonists.

2. What do the threads have to do with one another?

If you use this technique, it is critical that the plots intertwine, not run along aside each other, meeting only at the end.  When the reader doesn’t understand the point of the split, they are likely to put the book down. I am not saying it hasn't been done, but it is a choice that can have negative consequences. I once skipped half a book because one thread simply didn't matter and held no tension. That is not the kind of page turning to aim for.

3. Are the threads equally intriguing?

It is hard enough to maintain tension in one plot line, much less two. Making both threads equally thrilling is twice the work. Making both threads equally thrilling and related is grueling. If only one thread is interesting, the reader will do a lot of page skipping, unless they toss the book in the do not finish pile. Plot out each thread separately. Are all of the pieces there? How do they impact one another? How can you layer the scenes to keep the pace moving forward? Backstory, flashbacks, and memories are not story plots. They augment a plot. There are many stories that explore a story that happened in the past that has impact on a story in the current era or a future era. For example, a modern-day literary love story that is impacted by a romance in the past. A mystery with a modern day sleuth mirrors a case from another time and place. A historical thriller has a plot in the modern day that uncovers the full story of what happened in the past. Each layer has a main character, friends, foes, goals, stakes, and outcomes. 

4. Does it suffer from too many characters?

Each protagonist interacts with friends and foes and either the same antagonist or different antagonists. Two protagonists and antagonists equal twice the work. Every primary and secondary character you add dilutes the emotional connection to the story. Keeping track of a vast cast, especially if one needs to consult a list or take notes, can put your story in the do not finish pile. As much as George R. R. Martin is heralded, his books suffered from cast bloat and many readers didn't finish the books. They were happy when it was adapted for TV. I suggest sticking to the POV of the main character for each plot or stay in omniscient POV. Using a close POV can also cause problems if not done well.

5. Does it have a satisfying conclusion?

There is nothing worse than wading through complex construction only to reach the end and find a weird twist or obscure denouement. Don’t make one of the plot threads a dream. There are genres that require a happy ending. Romance requires a happy ever after for the main couple. A mystery requires the resolution of the current case, even if there is an overarching evil villain that returns in the next book. Moriarity in Sherlock Holmes is an example of a retuning mastermind. But each of Sherlock's cases are solved in the books. The rest of the genres can have an up, down, or even up/down endings. 

6. Is it appropriate for the genre?

Separate plot threads are not the same as different point of view characters. It is two separate plots. If you use it for a Romance, it becomes a literary Romance. Romances follow one story line. There can be a subplot where the main lovers' best friends also fall for one another. That is not the same thing as two full plots. A murder Mystery follows one sleuth solving crimes. Switching between sleuths and timelines may not be pleasing to your ordinary mystery lover. In a recent television series Bodies, there were four sleuths and four cases and four timelines. I love Mysteries. They make up forty percent of my story consumption. However, it was not my cup of English Breakfast tea. It had mixed reviews. Dual plots can work in Historical, Thriller and Suspense, Fantasy, Literary Dramas, perhaps even con, heist, and prison break.

7. Are you depriving the reader of full engagement?

The goal of any story should be full immersion. The plot should be fully-formed and the tension gas pedal applied expertly to control the speed of the narrative. Are other layers simply an annoying distraction? Can you make multiple threads work together in a way that keeps the reader eager to turn the page? If you don't know how or assume the reader will forgive you for shorting them of the full-immersion experience, then reconsider.

I would not suggest this method for a first-time author. Build your skills first. I’m not saying it can’t be done, or even done well. Some examples of parallel plots are:

To Kill a Mockingbird by Harper Lee

Holes by Louis Sachar

Blueberries for Sal by Robert McCloskey

The Lady of Wild Beasts by Debra Spark

The Sex Club by L. J. Sellers

Day of Atonement by A. Alvarez

Sarah’s Key by Tatiana de Rosnay

Stephen King's The Stand is a complex layering of plot threads. Even the master of horror struggled with it because of the large number of characters and storylines.

George R. R. Martin's Game of Thrones followed three separate but simultaneous storylines. Some readers gave up because of what I call cast bloat. If a reader has to start taking notes, they often give up.

As you can see, they are very different books. Some were more successful than others. 

Plot bifurcation has inherent structural weaknesses. If you choose to build your story on this skeleton, be prepared for the writing equivalent of a biathlon. Each plot must have solid structure, a full cast, and tension that builds. It is essentially writing two novels. You don't have to outline it if you are allergic to the process. You will need to do a detailed dissection of your story scene by scene and chapter by chapter after the first draft.

It is critical that you have other people read it before submitting it or self-publishing it. The details in your head may not make it onto the page. It can be easy to lose your audience. They don't know the story in your head. What makes sense to you might confuse the reader and that results in bad reviews.

As always if you find this information helpful, share it, like it. If you want more free information, sign up to follow the blog on blogger or the Story Building Blocks Facebook page. Free tips and tools are also available on my site https://dianahurwitz.com/.

Creating Conflict With Backstory

We have learned how to avoid backstory plot holes and discussed how to use backstory as plot devices. This week, we look at how to use backstory to create conflict.

1. It is tempting to cheat by inserting letters, news articles, and pages from a book or diary to impart information. There may be instances where it works, but rarely. These shortcuts are generally boring in nature. Even worse, they are often placed in italics. If you insist on this, keep it short and simple. Pages of italics strain the eyes.

Backstory in the form of letters or journal entries tests a reader's patience. They draw the reader out of real time. A few readers adore them. Most don't. I scan read them. If they are too long, I skip over them. They rarely contain conflict and are a lazy way of delivering information.

If the contents can be summarized quickly through internal dialogue or dialogue, do that instead. We don't need to see a long news article about a body being found. Dick can read the article and comment on it to Sally, offering her the juicy parts. Most of us do this when we read something to someone across the kitchen table or office desk. We don't read the whole article. We react emotionally to the contents. We skip over the blah, blah, blah parts and read the good stuff.

"Reading Mom's diary is so surreal. I had no idea she was such a free spirit, a freethinker, and a party girl."

Jane reached for the book. "When did that change? She was so prim and proper." 

Sally dodged her and kept reading. "Oh my lord, she slept with Phyllis's husband before they got married."

Jane attempted to grab the journal a second time. "Are you certain that's what she meant?"

Sally turned the page. "Last night was so romantic. We walked to the back of the garden and stood under the weeping willow, my favorite hiding spot. We kissed. He slowly undressed me. The night air was cold, but his skin was so warm."

"She never! That can't be our mom, can it?"

This type of delivery keeps the reader in real time and in the presence of characters they care about.

2. Short snippets of backstory can be revealed through inner dialogue and thoughts. What a character thinks reveals character. A conversation or situation can bring back pleasant or unhappy memories. Memories can differ. This is part of interiority. Dick can think:

Sally thinks she knows everything. Even when we were in kindergarten, she thought she knew everything. No one in this town ever changes.

This reveals that he has a history with the town, he has known Sally since kindergarten, and he isn't too pleased with her. In this example, he keeps the negative opinion to himself. The same information could be related as dialogue.

In the next example, Dick shares the same information and antagonizes Sally in the process.

"You thought you knew everything back in kindergarten, too. Nothing ever changes in this town."

3. Short summary can propel the story. Jane might drive past her old house, the one she shared with her ex-husband, and think:

I pulled up to the curb and left the engine idling. God, I missed the cottage. I loved the symmetry of it, the gables, and the white picket fence. I loved the rosebushes and the neighborhood cat that used to sun itself on the steps. I should have been sitting on the front porch swing, drinking tea, and reading a good book instead of driving past it like a lovesick teenager. It wasn't the affair or the divorce that gutted me. Dick wasn't worth a single tear. It was knowing that he had taken the cottage from me out of spite and moved in that lanky-skank ho. Killing him wouldn't make a difference. It would still belong to her. I'd have to figure out a way to drive them out.

This reveals that Jane used to live in the house, her aesthetic preferences, she likes tea and reading books, and she loved the house more than her ex. It gives us the story goal. You could have spent pages telling us about Jane's past and setting up her motivation. Instead, it was summarized in a few short, bittersweet sentences.

4. Backstory can be revealed though dialogue. Avoid horrible "As you know, Sally" information dumps. Make sure your characters would utter the words in a real conversation.

"As you know, Sally, our great-grandpa started this tea business in 1893 when he came over from old England. He built the place from the ground up."

 Of course Sally knows. It's her grandfather. Let's slip this in with a little character conflict.

Dick ran a hand over the smooth wooden chest, tracing the Sinclair name and the year 1793. "I wish grandpa Mac had lived to see this."

Sally didn't look up from her phone. "He'd be 200 years old."

"Not the point." Dick lifted the lid, inhaling the sweet smell of peppermint. "He left England with a small tin of tea and a dream and look at us: international distribution, thirty varieties, new hybrids."

"And disgruntled employees, greedy investors, irrational vendors."

"Forget it. Let me buy you out. You'll never love the place the way I do."

"I'll never love anything the way you do. You're obsessed. You should leave this cave occasionally. Go on date. Get laid."

"Get stuffed."

Sally slipped her phone into her pocket. "Every chance I get. I'm hungry. Let's do lunch before I pass out."

"I'm serious. I want to buy you out."

"I'll think about it on a full stomach."

A character's hot buttons, prejudices, and conceits can rear their ugly heads during heated conversations. Backstory is best revealed through a verbal sparring match, not a lazy trot down memory lane. You add conflict when the characters block what needs to be said, reveal painful secrets, point out a person's flaws, or expose old wounds along the way.

5. Differing memories can cause conflict. Memory is fallible. If you ask three children about their formative years, each has a different rendition based on how they perceived their experience. 

"You were always their favorite," Dick said.

Sally snorted. "Me? You were the golden boy, the heir. I was the spare and an afterthought."

"They let you get away with murder. I had to be perfect. I had all the pressure of their expectations. You were free to do whatever you wanted."

"You got all the attention. They didn't know I existed. I could have paraded around the mansion naked and they wouldn't have noticed."

"Oh, they noticed. They had massive arguments about you."

"On how to get rid of me."

Dick looked at the side by side caskets. "I guess it sucked for both of us."

"Now we can't even confront them over it." Sally walked away from the grave site.

Dick followed. "Don't be a stranger, okay?"

Sally opened her car door. "That's what we are, strangers. Maybe we should officially meet some day."

Masterful use of backstory elevates you from beginner to master craftsman.

As always if you find this information helpful, share it, like it. If you want more free information, sign up to follow the blog on blogger or the Story Building Blocks Facebook Page. Free tips and tools are also available on my site https://dianahurwitz.com/.

Backstory As Plot Devices

Last time, we discussed how to avoid backstory plot holes. This week, we offer ideas for using backstory as plot devices.

1. You can reveal your protagonist's critical flaw by explaining somet
hing that happened in the past. The critical flaw is revealed near the beginning to explain why Dick is drawn into the story problem and trips him up along the way. The flaw, his kryptonite, can stem from a traumatic episode from the past.

2. The secret weapon is revealed early on to explain why Dick, and only Dick, can solve the overall story problem. It can be a talent, strength of character, belief, or an actual object. You can show him using his secret weapon, or refusing to use it, in the past before he is called upon to use it in the present.

3. Whatever skills or failings Dick has, don't whip them out at the last minute by saying, "Oh, yeah, back in school I used to (fill in the blank)." That is backfilling and it is a no-no.

4. Backstory can raise questions rather than answer them. You can show Dick doing or saying something in the past, but not explain why until later. Mystery keeps the reader invested.

5. Backstory can be revealed in layers, like peeling an onion. Each reveal adds a slightly different twist to the reader's understanding of what happened. Write the backstory then select the bits you want to reveal and order them in the most effective sequence. Slip them in when needed.

6. If Dick did something in the past, he can repeat the action or find himself in the same dilemma in the present day, only there is an obstacle this time. His old method no longer works. He knows better now and this time it's uncomfortable. Perhaps he has the skills or experience to do things differently.

7. Backstory can create conflict for Dick by presenting him with difficult choices. In the past, the decision might have been easy. The current situation, or new knowledge, makes the same choice more difficult. Maybe he used to easily run toward danger, but he has new responsibilities and has to seriously consider the wisdom of his past actions.

8. Backstory can reveal change. If Dick is afraid of spiders because he was bitten by one as a child, he may have to take on the giant spiders that invaded Earth at the climax. If Dick was a coward in the past, he can be brave in the present. If Dick denied his feelings in the past, he can embrace them in the present.

Stay tuned for our wrap-up on how to use backstory effectively.

As always if you find this information helpful, share it, like it. If you want more free information, sign up to follow the blog on blogger or the Story Building Blocks Facebook Page. Free tips and tools are also available on my site https://dianahurwitz.com/.


Crafting the Ending

At the conclusion of your exciting tale, most readers are rooting for a happy ever after ending. They want the bad guy punished, the good guy rewarded, and the lovers to be in love.

Sometimes a tidy ending just isn’t where the story should go. Should you change it to conform or end it the way you feel deep in your gut it should end? Some genres have specific expectations. A Romance should end happily. A Mystery should be solved. Beyond that, the resolution of your story can be a little more creative.

Every story has a central question. Will the protagonist succeed in his overall story goal? There are multiple answers.

1) Yes. Dick succeeds and there is no gray area or hanging questions. The plot is tied up in a neat little bow. He feels good about it. This is an up ending. Readers love up endings.

2) No. Dick fails and feels bad about it. He fought tirelessly, but in the end just couldn’t win. This is a down ending. Readers hate down endings.

3) Yes, but. Dick succeeds at one thing but fails at another. He succeeds but there are ramifications of his success that carry on into the future. He succeeds but at a terrible cost he didn’t calculate. This is a form of up-down ending.

4) No, and further more.  Dick not only fails, but he is further punished or must try again in a sequel. Dick may have been going for the wrong goal and not only does he realize he is wrong, he  must take on a new challenge to make it right.  Dick fails at his goal, and we realize he was the bad guy all along.

5) Yes and No. Dick thinks he has succeeded or failed in his goal but there is a twist ending and he finds the opposite is true.  He can kill monster A only to find out the real monster is B. Dick may win the battle but cause a major war. Dick may succeed but hurt everyone affected.  Dick succeeds at his goal but during the final credit roll, he gets nailed by an oncoming bus. This is another type of up-down ending.

6) Maybe Yes/Maybe No. The ending is left ambiguous. It is never made clear what really happened or how the story ends. The reader is left hanging. They may want to hang you. It is a risky artistic choice.

Whichever ending you choose, your story architecture must support it. The ending must grow organically from the actions and decisions leading up to it. You don’t have to make everyone happy. You just have to leave everyone satisfied.

As always, if you find this information useful, please like and share. 

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on https://dianahurwitz.com/theory.html.


Dressing Up The Skeleton with Subgenres

What if we decided the meteor story worked better as a Romance? We continue with Dick, love interest Sally, and friend/foe Jane and Ted and the meteor and try on different subgenres.

If we select the Romance skeleton, the focus is on Dick meeting, possessing, or losing the object of his affection: Sally. The meteor, Jane, and Ted present antagonistic and interpersonal obstacles to this goal. There are different ways to dress up a romance.

1. You can add the Contemporary Romance jacket. This is defined by the time period. The obstacles to their love occur post World War II to modern day. It is often combined with or related to the term “women’s fiction.”  Most romances are told from the female’s POV, but doesn’t have to be in certain subgenres. Ted wants Sally, or Jane wants Sally. Jealousy and rivalry keep Dick from achieving his goal. The impending meteor strike adds an element of anxiety. At the final turning point, Dick saves the day and wins Sally's heart forever. Or, Sally and/or Jane saves the day if you want to add a feminist touch.

2. If you add the Historical Romance mantle, it means that the obstacles to love occurred prior to World War II and may feature elements of mystery or “damsel in distress.” In this instance, Sally is directly threatened by Jane or Ted while the impending meteor strike provides atmosphere and heightens emotion. We learn a bit about the history of astronomy along the way, but not too much. In the end Sally and Dick live happily ever after.

3. If you choose the Romantic Suspense trench coat, the meteor strike is a Thriller and Suspense subplot. The setting could be contemporary or historical. The couple’s relationship is tested by the race to save the planet. Will they live to love or will the meteor obliterate them? Ted is foiled. Jane is mollified. Dick and Sally live happily ever after.

4. If you select the Paranormal Romance cloak, one or all of your characters could be vampires, werewolves, ghosts, zombies, or witches. The focus is on the romance and the paranormal elements as they attempt to thwart the meteor strike. The different species may have different agendas. In the end, Dick and Sally wind up together, the normal world is saved, and they are happy about it. Except for perhaps Ted. Or Jane. Or Ted and Jane.

5. If you prefer the Science Fiction Romance jumpsuit, the setting becomes the future, perhaps on a remote lunar outpost. A rocket may circumvent the tragedy, taking out the antagonistic Ted along with the meteor, leaving Dick and Sally to love uninterrupted in their space capsule as Jane waves forlornly from the control room.

6. If you adopt the Romantic Fantasy cape, your story will feature dragons, wizards, or fairies working to repel the meteor heading for them, preferably with magic. Perhaps the near miss with the meteor was foretold in a prophecy naming Dick The Chosen One, which tests his relationship to Sally. Dick and Sally hold onto their love in the face of fantastic odds.

7. If you assume the Time Travel uniform, some - or all - of the cast must travel through time to solve the meteor strike problem. Perhaps Dick travels to the past, leaving poor Sally in the present. Will their relationship survive the distance? If Dick changes something in the past, will Sally still be in the present anxiously awaiting his return? Or will he return to find her happily (or unhappily) paired with Ted? Perhaps Jane sees her chance with Dick now that Sally is out of the way. But in the end, Dick and Sally are reunited and it feels so good.

8. If you don the Erotic Romance sheet, you’ll need to add steamy sex scenes in specific chapters. The impending meteor and Ted and Jane's interference fuel the fire. As long as they fog up the windows while fighting for their lives, you're good to go. In the end, the meteor misses and Dick and Sally wind up in bed, thankful to have dodged the celestial bullet. Ted and Jane may end up in bed together as well, even though they pretend to hate each other.

Whatever costume you choose, your romance should satisfy the reader by answering the question: “Will they or won’t they?” The answer should be, “Yes.” If your reader is titillated and satiated by the story’s end, they will love you for it.

The four layers method is versatile enough to work with any genre, subgenre, and mixed genres. Breaking the story down into the types of conflict keeps the reader turning pages. A conflict can be as small as trying to get a cup of coffee and being interrupted and diverted along the way to Starbucks or as massive as a space opera with cowboys fighting aliens.

As always, if you find this information useful, please like and share. 

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on https://dianahurwitz.com/






Working the Theory Internal Conflict Scenes

 
Internal Conflict scenes introduce and explore the personal dilemma your protagonist struggles with. The verbal camera is focused with a tight spotlight beaming on the protagonist in the background. Use these scenes to reveal the protagonist’s back-story and show him dealing with his guilt, pain, or need which leads up to and is resolved by his point of change.

These conflicts test the protagonist’s character and faith. They make him question who he is and what he does. These are the emotional complications or ties that bind that complicate the overall story problem.

If the love interest has equal weight, you can explore her personal dilemma and point of change in these scenes as well.

Internal conflict scenes can be flashbacks, dreams, and revelations of back-story through memories or an encounter with a friend or foe.

You can show him exhibiting one type of behavior in the beginning and a complete reversal of behavior at the end to show the point of change.

These scenes can reveal the event that happened in the past and how it changed him: he deals with the death of his partner, the loss of his wife, or the child he didn’t save.

The internal conflict often culminates in the section after the climax, where we find out if the protagonist lives happily ever after. It can also culminate just prior to the climax.

That does not mean other characters cannot be in these scenes or that he is not doing anything. It means the verbal camera is zeroed in on his thoughts, feelings, actions, and reactions to the underlying problem that drives him and complicates the overall story problem.

In this Thriller, Dick’s personal dilemma focuses on his marriage. His marriage is on the rocks because he is a workaholic. He had planned to retire but this latest crisis forces him to keep working.

Internal Conflict 1: Dick and Sally make plans to go on a long-awaited vacation. He gets a call.

Internal Conflict 2: Dick informs Sally that he isn’t retiring after all. He can’t tell her why.

Internal Conflict 3: Dick and Sally fight about the vacation. Looks like we’ll have to cancel it.

Internal Conflict 4: Sally gives Dick an ultimatum. “I’m tired of waiting. It’s me or the job.” Dick replies, “If I don’t do this there won’t be any me or you.” Sally asks, “What do you mean?” To which Dick replies, “I can’t tell you.”

Internal Conflict 5: Sally accuses Dick of having an affair with Jane at work. Dick is called away.

Internal Conflict 6: Dick finds Sally packing her bags. He begs, “Don’t leave. I love you. I’ve always loved you.” Sallies feels otherwise, “Then why are you ruining things?” Should he tell? Is it better for her to know or not know that their days might be numbered?

Internal Conflict 7: Sally tells Dick that she received a call from Ted and that he said there was no reason for Dick to stay at work. That he is lying to her.

Internal Conflict 8: Dick tells Sally the truth.

Internal Conflict 9: Dick and Sally spend the evening together knowing it may be their last.

Internal Conflict 10: Dick and Sally leave for the airport to go on their vacation.

In the next section, we will look at the best way to layer our scenes. 

As always, if you find this information useful, please like and share. 

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on https://dianahurwitz.com/.

Working the Theory Antagonist Conflict Scenes

Antagonist Conflict scenes introduce us to the antagonist or antagonistic forces. This is your verbal camera focused on stage right. 

These scenes test the protagonist’s and antagonist’s knowledge, ingenuity, and strength. They are battles of will and wit.
They develop how the protagonist and antagonist face off in between the external conflict scenes. 

If you are only following the protagonist’s POV, these scenes are where the lead alien and the hero face off, the serial killer taunts the investigator, the brothers fight over the woman, the scientists clash over the best way to thwart the meteor, or the knight and the infidel cross swords.

If the verbal camera follows the antagonist, or these scenes are written from his point of view, they show him actively pursuing his goal and reveal his personal dilemma. They show him interacting with his henchmen or threatening secondary characters.

In some stories the antagonist force may be pushing the character to do something positive. Some stories that don't have an evil villain. In a Road Trip, Team Victory, Romance, or Golden Fleece tale, there may not be an overt corrupt or evil character.  In these cases, the character who serves as an antagonist is the one who has the biggest impact on the protagonist. They butt heads and interfere. They exchange barbs if they aren't exchanging bullets.

In Antagonist scenes, the villain states his side of the thematic argument. All of these conflicts lead to the climactic confrontation with the protagonist. The final scene reveals the fate of the antagonist. 

If you are using antagonistic forces rather than a person, these scenes show the protagonist struggling against them. If the force is nature, these scenes show the protagonist being threatened by nature. If the force is society or a controlling power, these scenes show him working against them. If the force is family disapproval, and a specific member isn’t singled out as an antagonist, then these scenes show the protagonist trying to win them over or to break their hold over him.

Antagonist scenes escalate the conflict between the protagonist and antagonist or antagonistic forces: snags in the plan, unexpected discoveries, reversals, gains, important information concealed or revealed, and increasing levels of threat. They are arranged in an order that will make the most impact. The first scene should introduce the antagonist or forces. The final scene should reveal the final disposition of the antagonist or vanquishing of the forces.

Using our thriller story seed, let's look at what the antagonist scenes could look like. 

Ted is directly opposed to stopping the meteor. He has been so damaged by life that he thinks it is time for humanity to be destroyed. Since this is a thriller, we will allow the verbal camera to follow Ted.

1. Ted learns there is a meteor headed toward earth. Finally, the world can be destroyed and he doesn’t have to lift a finger. All he has to do is sit back and watch the show.

2. Dick has come up with a plan. Ted vows to make sure it doesn’t work.

3. Ted is denied access to the equipment. He has something on one of the grounds crew, Bob, and uses that pressure to convince him to tamper with it. But we’ll all die. Do you want to die now or later?

4. Ted confronts Dick. Why are you trying to stop the inevitable?

5. Dick has come up with a new plan. So Ted must tamper with the laser beam.

6. Ted calls Sally and tells her Dick and Jane are having an affair.

7. Dick confronts Ted. You had something to do with this. You’ll never prove it and in a few days it won’t matter anyway.

8. Ted must find a way to make certain the shuttle doesn’t take off.

9. Ted’s attempts to prevent take off fail.

10. Ted is led off in handcuffs.

Next week, we will look at Interpersonal Conflict scenes.

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on https://dianahurwitz.com/.

As always, if you find the information useful, please like and share.

Working the Theory External Conflict Scenes

Now that we have chosen the story skeleton, the challenge is providing riveting obstacles between question and answer to keep the reader glued to the page. The reader knows from the outset that the hero will most likely survive. Your mission is to make them question the outcome anyway. We do this by utilizing the four layers of conflict.

We began with the premise of a meteor streaking toward earth, Dick as a conflicted scientist, his crumbling marriage to Sally, and Ted and Jane as coworkers who make his life miserable.  We have selected the Disaster Thriller format. Let’s start crafting conflict.

External conflicts test the protagonist’s courage, nerves, and determination.

They are high tension scenes that focus on the question of whether the overall story goal will be achieved. They include the main actions and reactions and turning points leading directly to, and including, the climax of the story.

External scenes show the characters caught up in the situation of your premise such as: boy meets girl, the volcano erupts, aliens invade the town, a body has been found, they are all forced to go to a wedding or reunion, or the wagon train heads out for the wild west. They do not address the subplots unless and until the subplot collides with the main plot at the climax.
They introduce the protagonist, the inciting event, the story goal, the prize for reaching the goal, and the cost for not reaching the story goal (stakes). They show him developing and attempting a plan of action for tackling the story problem. In the usual three-act structure, his first plan fails and he must come up with a second plan (the wrong solution). That plan fails and he must come up with the third plan (the right solution).

There have to be some positive moments where it looks like the protagonist is gaining ground. You could divide them equally: five scenes where he is making headway and five scenes where he is losing ground.

Once you’ve picked a skeleton and dressed it up, it is time to list your initial thoughts on events that will happen to trigger then escalate this external conflict: snags in the plan, unexpected discoveries, reversals, gains, and increasing levels of threat. Arrange them in an order that shows cause and effect and final resolution. The first scene should contain the inciting event. The final scene should contain the climax.

Continuing with our premise, we have come up with a list of scenes that introduce and eventually resolve the outer conflict: the imminent meteor strike.

External Conflict 1: Dick learns a meteor will strike.

External Conflict 2: He thinks of a way to stop it while it is still far away. He will nudge it with a satellite.

External Conflict 3: The satellite crashes into, but doesn’t change, the meteor's trajectory.

External Conflict 4: He comes up with plan to divert the meteor with a laser beam.

External Conflict 5: They can’t get the beam close enough from the ground.

External Conflict 6: They send the laser to the space station. The equipment breaks off and is lost in space.

External Conflict 7: They are back to the drawing board - all seems lost. They enter countdown mode.

External Conflict 8: Dick comes up with a final plan. It is do or die. They will nuke the meteor.

External Conflict 9: They rev up the shuttle loaded with a lethal payload to intercept the meteor and, despite last minute glitches, the shuttle takes off on a suicide mission.

External Conflict 10: Their plan succeeds and everyone lives, except the crew of the shuttle.

Next week, we will craft Antagonist Conflict scenes.

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on https://dianahurwitz.com/.

As always, if you find the information useful, please like and share.

Working the Theory

Genre is the promise you make to your reader to give them the kind of story they want without annoying them by giving them information they don’t want.

So what happens when your premise, that brilliant story seed that came to you in a dream or while pacing your kitchen at 3:00 a.m. on a sleepless night, doesn’t fit neatly into one of those broad categories? What if the term genre makes you feel slightly nauseated or makes you fear you’ll have to kill too many darlings?

Let’s say you have an idea for a story involving a meteor streaking toward earth, a conflicted scientist, his crumbling marriage, and coworkers who make his life miserable. How do you decide what to do with it? There are hundreds of variations on the same premise. You develop the idea by choosing a story skeleton and dressing it up to suit your taste. Let’s start with choosing a story skeleton based on the central question. Every plot hinges on a central question. Posing the question at the beginning of the tale and answering it at the end is sound story architecture.

Let’s play with skeleton selection with a few broad options. We start with a story idea about protagonist Dick, love interest Sally, bossy Jane, jealous Ted, and a meteor streaking toward earth.

OPTION ONE: We can dress up the Literary skeleton and explore the theme that relationships are vulnerable to unexpected blows. The impending meteor strike could be real or imagined, past or present. The tension it creates, or the mystery that surrounds it, tests the bonds of the people involved. Threatening situations can bring out the best or worst in people. The central question becomes: What life altering decision will Dick make and how will it affect his life? He can decide to walk away from his chosen career, stay or leave an unsatisfying relationship, or come to terms with the fact that you can’t save everyone, especially from themselves.

OPTION TWO: We can take it on a Road Trip. Dick, Sally, Jane, and Ted travel to the crash site. What they find when they get there isn’t the main concern. It is what they learn along the way. The central question is: What is he feeling and how does it change? Dick can gain an important insight about himself, clear up a misunderstanding from the past. He can find out Sally is having an affair with Ted and Jane has always been in love with him. External obstacles make the destination difficult to reach and interpersonal squabbles bring the conflict to a head, but the internal journey is the focus. The Road Trip could be a slow psychological dissection or a hilarious Comedy.

OPTION THREE: We can wrangle it into a Western. Dick is the Sheriff. Ted owns the ranch where the meteor landed. Jane is the saloon girl who secretly pines for Dick while fighting off unwelcome advances from Ted. Sally is the new widow in town that Dick falls for. The Indians see the meteor as a sign that the white man must leave town or their world will be destroyed. The overall story question becomes: Will they overcome the challenges and stay or will they go?

OPTION FOUR: We can warp it into a Science Fiction future where the meteor is being controlled by savage Carpathians. Dick is the ship’s captain. Ted is his argumentative first officer. Jane is his communications director and is having an affair with Ted. Jane wants Ted to take the Captain’s seat so she can become first officer. Sally is the security chief and half Carpathian. Dick is intent on finding a way to turn the meteor against the Carpathians while Sally lobbies for a peaceful resolution. After all, not all Carpathians are evil. Ted and Jane realize at the last minute that if Dick fails, they all die along with promotional possibilities.  Sally forges a peace treaty while Ted and Jane live to plot another day and Dick is once again the hero in the eyes of the federation.

Which category do you want to explore with your premise? You may not be certain yet. There are subcategories to consider. You can mix genres. You can bend and twist genres. But at some point, you have to pick a main through line that gives a story direction and momentum.

You can have a historical thriller with romantic complications. If it is heavy on romance with the thriller threat as a complication, you market it as romance. If you follow the thriller skeleton, the romance complicates the threat they overcome at the end. The way you layer the genres affects the skeleton dressing, but the central question drives the marketing. 

Next week we look at the different layers of conflict that play a part in your decision making. Who is your hero and what complicates his mission? Who is your antagonist? Who are the friends and foes? Is there a love interest?

Next week, we look closer at the external conflict layer.

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on https://dianahurwitz.com/.

As always, if you find the information useful, please like and share.


 

The Four Layers of Conflict

"Every scene should contain conflict."

This advice led me on a journey to answer the question, “How do you come up with conflict for every scene?” 

I developed the four layer method when crafting my YA series Mythikas Island. There were four books. Each character (Diana, Athena, Persephone, and Aphrodite) had their own story arc and acted as the point of view character in their installment of the four book journey. However, there was no one "bad guy" in the book. So how could I make the story tense without a villain or major battle scenes between good and evil?

As I read and studied, I realized there was another way of looking at conflict in a story. There were different types of conflict in the books, movies, and TV shows I dissected. Many did not have a central villain.

The result is the Four Layer of Conflict method which takes writers from “I have an idea” to the actual nuts and bolts of “I have the required scenes and all pull their weight.” This method can help new writers complete their first novel and offers experienced writers another way of looking at structure.

The first layer is the External conflict layer which focuses on the central conflict of the story. There are times when the characters make progress toward the goal and times when they fail and have to regroup. These are the big battle scenes or the high tension emotional tipping points. They include the inciting event that starts the story ball rolling and all the key scenes that encompass the twists and turning points and the climactic moment.

The Antagonist layer involves scenes where the antagonist and his minions are enacting or plotting their side of the battle or the protagonist and antagonist are in direct conflict. It can be antagonist forces such as weather, terrain, organizations, etc. Whatever, or whoever, is the main source of resistance that stands in the protagonist's way. The POV used depends on the focus of the scene. If you follow only the protagonist, then this is their encounter with minions or friction with the antagonist leading to the main turning points. If you follow the antagonist or other characters, these scenes can follow the antagonist working their plan or interacting with other characters.

The Interpersonal layer involves the friends and foes, perhaps the love interest if it isn't a Romance. These cast members aid and abet or derail the protagonist's efforts to reach the overall problem goal. Sometimes secondary characters have their own arc. This layer follows their detours which will require extra interpersonal scenes.

The Internal layer follows the inner conflict of the protagonist. They often have internal resistance to taking on the challenge. It follows the hero wrestling with his conscience. He may not feel worthy or strong enough. Sometimes their personal life interferes with the challenge, an illness or addiction that makes winning seem unlikely. It is sometimes divided loyalties or a problematic relationship. This is the protagonist's personal crisis moment. Do they have what it takes? Should they quit? Should they leave it alone and take care of other problems? Not all stories have an internal layer. This is often left out of Horror stories. I think it is stronger if present.

If you interweave multiple story threads, each may have its own four layers. Perhaps it is a past versus present story or multiple characters that come together at the end. There are many ways to utilize the building blocks. Later we will look at how they play out in each genre.

Next, we look at how the layers can be utilized to develop a story.

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on http://dianahurwitz.com.

As always, if you find the information useful, please like and share. 


 

Writing Events July to December 2023

Whether a one day session, one week conference, or a month-long writing workshop, writing related events are a good way to commune with other writers. They are opportunities to network and get your name out there. In some instances, you can meet and mingle with editors and agents. Some offer critiques or pitching sessions. Nowhere will you find a higher concentration of introverts enjoying each other's company. Local conferences are a good place to meet potential critique groups or recruit members. Note that information for this list is accurate as to what was available in January 2023. Dates and formats may change. Some events may be postponed or cancelled.

Some are free. Some require a fee. Some are more social than others. Many are for new writers, but a few dig deep into craft. You should choose an event that speaks to your needs and desires.

Due to the pandemic, some conferences will be virtual, others hybrid. However, most have returned to in-person events with or without requirements for vaccines and masking. Please check each conference website for details.

July 6 - 9, 2023 SleuthFest at the DoubleTree by Hilton Hotel, Deerfield Beach in Boca Raton, Florida will be held virtually this year. http://sleuthfest.com/

July 8 – 16, 2023 Tin House Summer Workshop, Portland, Oregon, https://tinhouse.com/workshop/summer-workshop-2/

 July 10 - 16, 2023 Fishtrap Summer Weekend, Wallowa Lake Lodge, Joseph. https://fishtrap.org/summer-fishtrap/

 July 10 – 17, 2023 Squaw Valley Writer's Conference, Olympic Valley, California. https://communityofwriters.org/workshops/writers-workshops

 July 22 - 24, 2023 Sun Valley Writers Conference in Ketchum, Idaho. https://svwc.com/

July 16 - 22, 2023 Port Townsend Writers Conference in Fort Worden State Park, Port Townsend, WA https://centrum.org/the-port-townsend-writers-conference/July 19 – 22, 2023 Romance Writers of America, Anaheim, California. Registration opens February 14, 2023. https://www.rwa.org/conference

July 19 - 22, 2023 Midwest Writers Workshop, Muncie, Indiana, https://www.midwestwriters.org/

July 19 – 31, 2023 Sewanee Writers Conference, Sewanee, Tennessee, http://www.sewaneewriters.org/conference/index.html

July 30 – August 4, 2023 Napa Valley Writers Conference will be held in Napa California at the Napa campus of Napa Valley College http://www.napawritersconference.org/

August 3 – 6, 2023 Cape Cod Writers Center Conference in Massachusetts https://capecodwriterscenter.org/

August  3 - 5, 2022 Mendocino Coast Publishing Boot Camp will be an in-person event. http://mcwc.org

August 4 – 6, 2023 Annual Digital Author and Indie Publishing Writers Conference in Van Nuys, CA in person conference at Hilton Los Angeles Westside, 6161 West Centinela Avenue, Culver City, CA 90230. http://wcwriters.com/aglawc/index.html

August  4 - 6, 2023 Greater Los Angeles Writers Conference, Los Angeles, California is a live event. http://www.wcwriters.com/aglawc/index.html

August 7 - 13, 2023 Postgraduate Writers Conference, Vermont College of Fine Arts, Montpelier, Vermont. https://vcfa.edu/postgraduate-writers-conference/

August 17 - 20, 2021 Killer Nashville International Writers’ Conference at the Embassy Suites Hotel & Convention Center Franklin, Tennessee is scheduled to be an in-person event. https://killernashville.com/ 

August 31 – September 4, 2023 Bear River Writers' Conference registration opens April 2023. Boyne City, Michigan. https://lsa.umich.edu/bearriver

August 30 to September 3, 2023 Boucheron Marriott Marquis San Diego Marina, San Diego, California https://bouchercon2023.com/

September 8 – 10, 2023 Rocky Mountain Fiction Writers Colorado Gold Workshop will be held at the Hyatt -Regency Aurora-Denver Conference Center. https://rmfw.or

October 6 - 8, 2023 Write on the Sound Conference in Edmonds WA https://www.edmondswa.gov/cms 

October 12 – 14, 2023 Desert Nights, Rising Stars Writers Conference at Arizona State https://piper.asu.edu/conference

October 18 – 22, 2023 GayRomLit Retreat Renaissance Portsmouth-Norfolk Waterfront Hotel  Virginia https://www.gayromlit.com/

October 18 - 22 2023 Surry International Writers Conference, Surry, British Columbia, Canada will be a virtual event. https://www.siwc.ca

October 25 - 29, 2023 Historical Romance Retreat will be held at the Westgate Hotel in San Diego, California. https://www.historicalromanceretreat.com/

October 28, 2023 Rochester Writers Conference 16th Annual Held at Oakland University.  https://rochesterwriters.com/

16 Parents and Children Dallas

In previous posts, I covered sixteen lovers and sixteen heroes and villains (link below). In the upcoming months, we are going to use the mannequins from Story Building Blocks and do a deep dive on what each character is like as a parent and how they deal with the other characters as children.

Family dynamics, especially parent and child, have a long-lasting impact on how your characters are formed. You don’t have to write a family saga to utilize this insight. It will shape who your character becomes as an adult. It can play a big part in a young adult story world. Even in Science Fiction or Dystopian futures, human traits remain. Childhoods can twist and destroy. A good family can make your hero more lovable and a motivated hero. Mix a character with a good childhood without to give them different world views and definitions of family. Sibling rivalry can be a factor. Who did the parent love more? Who did they connect with? Who did they clash with the most? There are many opportunities to infuse conflict in your plot with parents and children. You can mix parents with different styles. You can craft a complex family dynamic based on their temperaments and needs. As always with any of the traits, you can make them benevolent or malevolent.

The sixteen profiles can be either male or female. I alternated he and she. The character can be a father, mother, grandparent, aunt, uncle, foster family, or other primary caregiver.

This post will focus on the mannequin DALLAS.

Dallas is highly social and throws lavish parties. She has a constant need for stimulation that frightens an introvert. She is affectionate, generous with praise, and “I love you”,” but is inconsistent. She will allow her children to try everything but won’t make them finish anything. Her effusiveness embarrasses a reserved child. She wants everything to be perfect. She makes last minute changes to the plans and schedules. She is terrible at enforcing rules. She crosses the line to be liked and wants to be her children’s friend, not their drill instructor. She relies on her partner to play bad cop. She hates conflict and takes criticism personally. She is passive aggressive when anxious. She is more interesting in blaming than fixing. Dallas is naturally drawn to River, Shelby, and Taylor. Her opposite is Francis.

DALLAS/WYNN

Dallas is easy to please and seeks approval. She needs clear consistent rules and a secure routine. Dallas is the opposite of what when needs. Dallas can’t handle suffocating attention or inconsistent rules. She hates being punished for something she didn't do. If stressed, she suffers silently. Dallas will try to push Wynn past her comfort zone. Dallas isn’t a disciplinarian which could leave Wynn feeling insecure. Dallas’s passive aggressiveness could become abusive. Wynn is likely to disappear into anxiety and depression, feeling like she could never live up to Dallas’s expectations. While Wynn isn't a problem child, she isn't anything like Dallas either. They won't have much in common.

DALLAS/ FRANCIS

Francis needs order, structure, calm, and a predictable schedule. He is not comfortable with new people or situations. Dallas is a nightmare for him. Francis clings to close friends. He struggles with overly emotional people. He is meticulous and puts schoolwork before play. He likes group events where he can show off his competence. Dallas will enjoy showing him off and putting him in the spotlight.  If his competence is questioned frequently, it results in low self-esteem. Dallas is going to push him in uncomfortable ways. Francis will become rigid and withdrawn. He could turn into a bully, finding ways to subvert and punish Dallas for not being what he needs. He could easily turn against her entirely and cut her from his life for disappointing him. Dallas will be hurt by his turning against her.

DALLAS/NEVADA

Nevada needs structure, security and personal attention. If he doesn’t get it, he becomes clingy. He craves acceptance and is eager to please. Dallas’s attention may be too much and her inconsistency will make him clingy. He struggles to conform to new situations and Dallas thrives on change. Nevada does what he is expected to do. He follows the rules if fair and reasonable and speaks out against unfairness. He is furious when other people break the rules and Dallas doesn’t believe in rules. She sets no clear expectations. Nevada becomes resentful and angry if he doesn't get the praise he seeks. Dallas’s praise isn’t consistent. It doesn’t fit the actions, leaving Nevada confused. He becomes willfully obstinate if violated. Nevada could become a self-regulating child that simply works apart from Dallas to have the life he needs. Depends on his other caregivers. Nevada is likely to turn against Dallas for not being flaky and unreliable. He could disapprove of her his entire life and she will be hurt by his criticism.

DALLAS/ARDEN 

Arden is an active toddler. He likes to experiment and needs constant activity and change. He grows sullen and depressed if deprived of opportunities. He is curious and likes to disassemble things. He is eager to share his findings. Dallas will provide the exciting environment he needs to thrive. Arden isn’t a snuggler. He hates standing still and that can be exhausting to most parents but not Dallas. They could press each other into outrageous behavior. Arden wants to impress and wants to earn those trophies and badges. He wants to excel. He can resort to acting up to get attention or break up the monotony. Dallas is a good match for Arden. She will like showing him off, her good boy. Both thrive on change and stimulation. Dallas will try to be his best buddy and that can lead to Arden getting away with too much, until the law catches up. They would be a perfect parent/child crime duo.  

 DALLAS/BLAIR

Blair needs love and nurturing. Dallas being inattentive and busy makes  feel lost. Blair needs a solid foundation from which to flit, and Dallas provides quicksand. Blair is quiet and plays by herself, inventing her own world. She is artistic and highly sensitive, a daydreamer. Dallas won’t understand this dreamy loner and will attempt to push her past her comfort zone. Blair will resent her for it. Blair is pleasant and kind and nurturing toward others. She makes special gifts. Dallas may appreciate them, or not, depends on the day. Blair rebels if restricted and resists change and Dallas thrives on change. Dallas has the potential to be extremely damaging to Blair. Blair could either withdraw and become depressed or become so angry at being let down that she leaves home and doesn’t look back.

DALLAS/ DALLAS

Dallas is a restless child. She is suffocated by restrictions or cloying caregivers. She isn’t a cuddler. She is a dangerous loose cannon and will try anything. She needs to be corralled. Parent Dallas sees rules as suggestions and doesn’t enforce them anyway. Child Dallas is a ringleader of her siblings or in school. Parent and child Dallas could vie for dominance in the home. It could become a game of who gets away with more and paybacks. Child Dallas’s attention is fleeting. She doesn’t do anything long enough to master it. Parent Dallas won’t mind that and will make excuses for her child. Child Dallas hates being stuck at a desk listening to other people talk. She forgets to do what she is supposed to and Parent Dallas is just as bad. She can’t take care of her own stuff. Parent Dallas has a child just like her and it could go two ways. They could appreciate and drive each other to even more outrageous behavior or both spiral into mutual self-destruction or at least a life of co-dependence.

DALLAS/ HADLEY

Hadley is an easy baby. She needs calm, personalized attention. Dallas will make her anxious and fretful. Hadley is agreeable and enthusiastic. She wants to try everything once but quickly drops it. So does Dallas, so nothing may ever get done be it homework or housework. Hadley wants to be seen and heard and offers deep insights. She shuts down in the face of criticism and everything is criticism. Dallas isn’t intentionally controlling but she could carelessly demean Hadley. Hadley is easily led and hates leaving friends even though her friendships tend to be fluid. She may come to resent Dallas’s need for change and desire to shake things up. Hadley will likely recover and manage the changes. On the downside, Hadley might feel a little lost and look for guidance outside the home. On the upside they could muddle along together, never really achieving much. 

DALLAS/ SHELBY

Shelby is a quiet baby with a low threshold for excitement. She needs calm and consistent nurturing. Too much handling, moving around, and chaos make her cranky. She cries to escape the torture when caregivers shake her up and show her off. Dallas provides the opposite. Shelby likes playing by herself, with her toys, or with her imaginary friends. She likes to daydream and doodle. She is reserved around new people and bonds with a best friend. She can be a loner. Dallas won't understand her. Why is she such a bore? Shelby hates teams and groups and is highly sensitive to criticism. Dallas is likely to criticize her often. Shelby turns her pain inward and Dallas probably won’t notice. As Dallas goes about her whirlwind ways, Shelby will keep retreating. She could retreat from the home or retreat from life. She won't tolerate Dallas's expectations or interference after she leaves home. Dallas could prove to be a problem parent Shelby’s whole life.

DALLAS/ JOSS

Joss is a quiet but busy child. He is a fearless daredevil. He accepts structure and concrete rules but needs flexibility. He asks permission but finds a way around it if told “no.” Dallas is horrible at making rules and is inconsistent with punishments. He grows bored when options are limited and Dallas supplies lots of outlets. Joss likes to take things apart to see how they work, but doesn’t tell anyone what he learns. He gets lost in his hobbies. Joss is a good student, but chafes at rote learning. He gets in trouble for not paying attention or sitting still. Dallas will blame the school and teachers for his bad grades and poor behavior. Josh could spiral out of control since Dallas isn’t there to ground him. The two of them could negatively influence one another. Joss could resent Dallas for being lacking as a parent. He won’t hesitate to let her know it. They could have a lifetime of recriminations and blame with nothing ever being resolved.

DALLAS/KELLY

Kelly is a freedom-loving, active, and cranky baby. If his caregivers crave a consistent schedule, they are out of luck. Dallas isn't consistent. Kelly transplants easily. Dallas will appreciate this about her child. Kelly can't sit still and play alone. He craves attention and creates chaos to get it. He won't abide by rules or conform. Dallas doesn’t like rules or conformity either, so they will likely feed each other that way. Kelly collects friends and needs to be on the move. He is a ringleader of mischief. He needs a firm hand, not an iron fist and Dallas is neither. She may indulge Kelly too far. Kelly can be self-destructive if thwarted. He learns how to manipulate early and becomes a bully. He will likely run rings around Dallas and find her an easy target. Dallas will never hold him accountable. Kelly is likely to secretly, or openly, despise her, a dynamic that will last their whole lives. Dallas could easily be an enabling parent who never holds Kelly accountable.

DALLAS/GREER

Greer is happy and easygoing, and likes to explore. He prefers to play alone and can't handle chaos. He needs routine and safety, which Dallas doesn’t provide. Greer asks odd challenging questions and enjoys fantasy, mystery, inventing, and thinking. Dallas won’t understand this. She will try to push him to do more, make friends, go places. Greer isn’t interested in being fussed over or the center of attention. He is easily suffocated and can't handle emotionally gooey parents. Dallas is play, fun, energizing, and just the opposite of what he wants. Greer may start to doubt himself and take her criticism of him hard. He will never feel he can please Dallas. This could seriously harm his self-esteem. Alternatively, he could decide she isn’t worth his time and turn away from her entirely. They aren't likely to end up with a close relationship.

DALLAS/TAYLOR

Taylor needs peace and calm. Dallas being chaotic and unpredictable makes her anxious. Taylor is friendly and values harmony. Pleasing others makes her happy. She will try really hard to please Dallas, who may or may not notice. Taylor takes charge of playroom and siblings. She may take charge of the home since Dallas isn’t likely to. Taylor is hurt if she senses disapproval or if her efforts are rejected. Dallas isn’t likely to appreciate Taylor’s attempts to create order. Taylor can overextend herself by trying to play with everyone. Dallas won’t be the one to rein her in. Taylor could end up burned out early trying to do too much at home and at school. Dallas is likely to push Taylor to spiral out of control. They could become horribly entangled if Dallas is seriously out of control as a parent, irresponsible with money, or involved with chemicals or alcohol. Taylor would feel responsible for Dallas. They could be codependent forever. It will take outside influence to convince Taylor she isn’t the one who has to fix everything. Dallas may always need fixing or really resent that Taylor thinks she needs fixing.

DALLAS/CAM

Cam is a quiet, low maintenance child. He won’t ask for anything, even for what he needs. He is good because it’s important to be good not to please others. He expects everyone else to be good too: caregivers, siblings, teachers, and friends. Dallas being chaotic or highly dysfunctional could push him further inside his shell. Cam spends a lot of time daydreaming and thinking. His questioning of authority and probing questions make most adults squirm. He develops his own belief system and does not conform to what others believe. Dallas might find him funny and agree that they should just throw convention out the window. Cam, luckily, is self-regulating and responsible. One of them has to be. Cam withdraws to protect. Dallas is likely to be too inconsistent for Cam. As Cam withdraws, she might try to pull him out of his shell even harder. They are likely to misunderstand each other the rest of their lives. The dynamic could cause a permanent split.

DALLAS/ MORGAN

Morgan is a lively baby. He walks, talks, and gets into everything early. He might do them all a little differently. Caregivers who expect everything to happen on time and in the right way are frustrated. Luckily, Dallas doesn’t. Morgan has a lively questioning mind. He takes risks and outwits dim caregivers, teachers, or other authority figures. He could easily run rings around Dallas. She could encourage him to be outrageous. Morgan likes creative projects and follows his unique interests wherever they lead. Dallas will likely support him in those endeavors. Morgan’s penchant for invention is evident early on. Morgan is outgoing. Morgan doesn’t like group activities and if pressed wants to orchestrate things, assign roles, and oversee the progress. He becomes irritated when he doesn't get his way. He can be a clown. Dallas will likely cheer him on as he creates chaos. She isn’t in charge so Morgan will likely become the dominant personality. Morgan may soon find Dallas completely inconsequential. They aren’t likely to clash too much. Rather they are both on different trajectories that may or may not meet up from time to time.

DALLAS/ LEE

Lee is a high-demand baby. She will scream until Dallas pays attention to her. She proves exhausting to the most attentive caregiver. She knows her own mind from the day she can talk and tells you what she wants and does not want. Luckily Dallas is likely to go along with whatever Lee wants. Lee excels at whatever she chooses to participate in. She is in competition with herself not others, but they might not realize it. Dallas won't know what to make of her focused, ambition child. Lee is a leader on the playground and becomes the enemy of anyone who doesn’t follow along. She is the quintessential queen bee. She will probably end up running Dallas as well. Lee will take over and make life what she wants it to be and Dallas is just a tool in her arsenal. Lee will despise Dallas’s inconsistency. Their dynamic is likely to reverse with Lee the parent and Dallas the child. Lee could be the successful child and Dallas will always be the inferior parent who can't get her act together.

DALLAS/RIVER

River is a quiet baby. She is content to observe the world. She needs peace and quiet to thrive. Dallas is the opposite of what she needs. River lives in a dream world most of the time. Dallas will attempt to drag her kicking and screaming to play groups or to the playground. River one or two friends and her emotional skin is thin. She sees the world as treacherous and trust is vital. She won’t be able to trust Dallas. River hates violence and discord. Dallas's inconsistency and irresponsibility will make River feel very unsafe. River will withdraw to protect herself from the chaos. These two will probably never understand one another. Dallas could push River into depression and anxiety. River could leave home and never look back. She could be at risk of Dallas intruding into her life and Dallas will be completely unaware of the problems she creates. They are opposites in their approach to life.

Next week, we will introduce HADLEY.

If you want to learn more, you can check out Mastering Character Development and the

Story Building Blocks website for free tools and forms.

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