Tag Archives: writewtip

Big Story Ideas

Tree with lights and man picking

Big Ideas:

Ideas. The fuel that powers civilizations and progress—social, political, economic, scientific, technological. Great ideas are innovative, lead to success, generate excitement.

And so it is with stories too. Hollywood calls such ideas High Concept. Pitch a truly big idea in Hollywood and producers and executives sit up and take notice. Suddenly, you are doing lunch with all sorts of people who want to hitch a ride on your wagon.

So, how do you get that big story idea? And just what is it, actually?

The truth is that ideas, or seeds of ideas, can come at you anywhere, anytime— from smells, sights, sounds, touch, distant memories. But is there a way to force-generate a truly big idea, cold, so to speak?

Here again, there are many prompts, many paths to the land of big ideas. News and documentary programs, magazines, websites, books.

As a science fiction writer, I tend to sniff around in places were great scientific ideas are already in the boiling pot. I recently purchased a magazine published by Media24, aptly titled: 20 Big Ideas. The magazine identifies 20 huge scientific topics that are currently in vogue:

The ongoing search for a Theory of Everything, Dark Energy, the Gaia Theory, Quantum Entanglement, Catastrophism, Chaos Theory, Consciousness, Artificial Intelligence—to name but a few.

These are the topics currently causing a stir in the scientific and related communities, through journals, magazines, television programs, radio stations, Internet forums, and the like.

Find a topic that fascinates you, explore the unanswered question surrounding it, and create your premise or log-line around that. If you are interested in the search for a Theory of Everything, for example, you should probably know that it has to do with trying to explain the entire spectrum of physical existence, from the very small-the quantum world, to the very large—cosmology. You should know that trying to incorporate gravity into the former is the crux of the problem.

The question is: what would the Theory of Everything be like? From there, you might think along the following lines:

What if a young theoretician working under the guidance of a supervising professor makes a startling mathematical discovery that will change the face of theoretical physics forever? What obstacles could you place in his way, and what would be the motives of the antagonist in trying to prevent him from achieving his goal?

The same initial process can be applied to the topics of Consciousness, Artificial Intelligence, and the other big ideas doing the rounds.

The next step is to develop the log-line, the structural skeleton of the story, and the one page synopsis along the lines suggested in numerous articles on this website, or others like it, before starting the actual writing of your story itself.

Summary

Big ideas make for big stories. Begin by tracking down big ideas through studying relevant journals, newspapers, conference papers, television programs, and the like, and create your log-line or premise based on one of them.

Invitation

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Image: Andrés Nieto Porras
License: https://creativecommons.org/licenses/by-sa/2.0/legalcode

How to Manage Character Conflict

Boy with raised fists

Transitioning Conflict:

Staying with the work of Lagos Egri, and still on the subject of character conflict, this post examines this most powerful force that exists between characters. Egri informs us that there are four types of conflict in writing:

1. Foreshadowing (good)
2. Static (bad)
3. Jumping (bad)
4. Slowly rising (good)

Foreshadowed conflict should occur near the beginning of the story and should point to the forthcoming crisis. In Romeo and Juliet, the warring families are already such bitter enemies that they ready to kill each other from the get-go.

Static conflict remains even, spiking for only the briefest of moments and occurs only in bad writing. Arguments and quarrels create static conflict, unless the characters grow and change during these arguments. Every line of dialogue, every event must push towards the final goal.

In jumping conflict, the characters hop from one emotional level to another, eliminating the necessary transitional steps. This is also bad writing.

Avoid static and jumping conflict at all costs, by knowing, in advance, what road your characters must travel:

Fidelity to infidelity
Drunkenness to sobriety
Brazenness to timidity
Simplicity to pretentiousness

The above represent two extremes—start and destination.

Transition

You must have transitions between states. Supposing a character goes from love to hate. Let’s imagine there are seven steps between the two states:

1. Love
2. Disappointment
3. Annoyance
4. Irritation
5. Disillusionment
6. Indifference
7. Disgust
8. Anger
9. Hate

If a character goes from 1 to 5 at once, this constitutes jumping conflict, neglecting the necessary transition. In fiction, every step must be clearly shown. When your character goes through steps 1 to 9, you have slowly building conflict. Each level is more intense than the previous one, with each scene gathering momentum until the final climax.

Summary

Foreshadowed, slow-rising conflict, which transitions from level to level, is the best way to orchestrate opposition amongst your story’s characters.

Invitation

If you enjoyed this post, kindly share it with others. If you have a suggestion for a future one, please leave a comment and let’s get chatting. You may subscribe to this blog by clicking on the “subscribe” or “profile” link on the right-hand side of this article. I post new material every Monday.

Image: Philippe Put
License: https://creativecommons.org/licenses/by/2.0/legalcode