Ian Dawson's Blog - Posts Tagged "frasier"
Wings Wednesday – Interview with Writer Dave Hackel – Part One
I love sitcoms. I Love Lucy and Fraiser. The Mary Tyler Moore Show and Becker. Green Acres and Wings. All in the Family and Married…with Children. These shows, along with hundreds more, have given millions of people laughter, comfort, enjoyment, and quotable lines for generations. They have ranged from multi-camera series like Lucy, to single-camera series like The Andy Griffith Show. The situation comedy has had its ups and downs, but one thing is for sure…it’s here to stay.
Long before the advent of television, radio was where situation comedies began their evolution. Radio comedies like My Favorite Husband, The Adventures of Ozzie and Harriet, Fibber McGee and Molly, and Father Knows Best were pioneers in the sitcom format. Many of the ones mentioned here would be adapted to television. What had worked in one medium would translate seamlessly into another: the situations and the comedy.
These shows work and deliver continuous laughs thanks to the hard work and dedication of those who write them. They understand how to craft an effective joke and understand the value of a strong story and dimensional characters that can help elevate the comedy.
One of my favorite series is Wings, which celebrates its 30th anniversary this year. I had the honor of interviewing television writer Dave Hackel, who wrote many of my favorite episodes of Wings, and also worked on Fraiser (another favorite of mine), and created Becker (another favorite of mine, too).
In Part One, Hackel talks about his time working on Wings. In Part Two (posting next Wednesday), he talks about the writing process for one of my favorite episodes of Wings, “Murder She Roast.”
Enjoy!
Talk a little about your writing career before Wings.
My television writing career began a little over ten years before “Wings.” I’d worked on comedies, dramas and variety shows. After having the opportunity to try my hand at those different formats, I found I was most drawn to writing comedy and put all of my efforts toward finding work in half-hour sitcoms. Little by little, a was able to gain a foothold in that area, writing a number of single episodes for different shows and going on staff for a few others.
How did you get the opportunity to write for Wings?
I’d done the first year of “Dear John” at Paramount Studios before meeting Casey, Angell and Lee. They’d sold the pilot of “Wings” to NBC and were putting together their staff for the first season. I was looking to make a change and submitted a few scripts as writing samples. They liked what they read, we all seemed to like each other and they asked me to come on board.
What was a typical writers room week like on the series?
We filmed on Tuesday nights, so production weeks began on Wednesday morning. The new script was read around the table with the cast, the director, the entire staff as well as representatives from both the studio and network. After the reading, the cast and director would go to the stage to begin rehearsing and the rest of us would discuss the script and decide what worked well and what needed to be rewritten. We’d see a run-thru of the show at the end of each day, learn what we’d fixed and what still needed work. The staff would then begin that day’s new version of the script. Sometimes there’d be just a little work to do - writing new jokes, smoothing dialogue and responding to specific problems that the actors and director had pointed out. On other days, whole scenes would be thrown out and redone. Each day’s rehearsal was a learning process and hopefully each day’s work would improve the script so that the best possible version would be ready to put before an audience by the following Tuesday evening.
During the day, before rehearsal, the staff would be working on upcoming scripts. Finding new stories, working as a group to rewrite others that were in the pipeline and making sure we had a new script in shape for the following Wednesday morning.
How were ideas pitched?
At the beginning of each season, we’d throw out many ideas for shows. Everyone would participate. Sometimes we knew of a overreaching theme for the season and pitch to that, sometimes a story would emerge as we wrote to various actors and their characters strengths. When trying to fill a season, literally everything is possible fodder for an episode. We writers would mine our lives for stories — little things that had happened to us, memories from our childhoods, something funny our friends did or that we’d overheard a stranger say — everything was fair game to be expanded upon to make an episode. We had good characters to write for and also the airport setting allowed for interesting characters and their stories to walk into the terminal or off an incoming flight.
How were episodes assigned to be written?
Sometimes a writer would come in with an idea they especially liked and wanted to write. Other times the tone of a story might be better for one writer to tackle than another. Other times it was as simple as “Who’s next?” With an entire season of episodes to complete, all the writers were usually busy on a script.
What were the table reads like?
Usually, the table reads were a lot of fun. Lots of laughs. But the staff was working during the reading. We all knew that the rest of our day would be devoted to fixing any problems the became evident during the reading so we were all taking notes about what worked and what didn’t, what attitudes might need adjusting, what scenes might need to be reordered or, in some cases, eliminated.
How much input did the actors have in crafting and defining their characters?
The actors had a lot of input. They were welcome to bring up problems and ideas to the staff, but mostly their input was realized by their performances. Slowly but surely as a series grows, the characters evolve. Ideally, a level of trust gets established between the actors and the staff as we write to the actors’ strengths. Subtle changes get made from all departments. For instance, an actor might respond to or request a certain type of wardrobe that helps establish the type of person their character is. Notice Joe Hackett’s button down, put together look vs. Brian Hackett’s which was crazier, more colorful and casual. Tim Daly’s performance helped define Joe and we all wrote to it. Steven Weber’s performance helped define Brian and we wrote to that, too. So, working together the characters grew, as did the stories about them.
What was one of the challenges you faced as a writer on Wings?
One of the biggest challenges was that we had so many characters to service in each script. Six to begin with. Then seven, when Tony Shalhoub joined the cast. And another when Farrah Forke came aboard for a couple of seasons. Then Amy Yasbeck later. If one character was heavy in one show that naturally meant someone else’s would have less to do and being fair to both the actors and the show overall was always a concern.
What was your favorite part of being a writer on Wings?
Wings was a very “joke heavy” show. And, luckily, we had actors who could deliver. So it was especially gratifying to write funny lines and hear the immediate response from the three hundred people in the audience.
What is your favorite episode of the series?
That’s a difficult question. I like some more than others, of course, but a favorite? Of the ones I wrote, I liked “Four Dates That Will Live In Infamy” and “Murder She Roast” the best. Another I really enjoyed was “Das Plane” with William Hickey as the guest star. Another was “Joe Blows - Part One.” Thankfully, there are really too many good episodes to choose from.
What was tape night like on the set as a writer on the series?
Rewriting on a sitcom never ends. On shoot night we all followed along carefully and constantly threw in new and improved jokes for additional takes. Anything that could improve a moment — a line, a word, a pause — we’d try anything and everything to get the best possible show.
Did you have a favorite character you liked writing lines for?
Enjoyed them all for different reasons. Brian, Lowell and Antonio were the most fun to write for — each had a very unique voice and approach to comedy.
How long were you a writer on the series? When did you exit the series? After your exit, did you then move on to work on Frasier?
I was with the show for, I believe, 95 shows. When I left, I created a short-lived series with Grub Street called “The Pursuit Of Happiness.” After it was cancelled, I consulted on “Frasier” one day per week for a time before creating “Becker.”
How did being a writer on Wings prepare you to create your own series, Becker?
It was invaluable training. Casey, Angell and Lee brought the “Cheers” way of doing things with them and adapted it to their shows. I liked the way they laid out the season and the individual shows and tried to emulate that production method with “Becker.” Obviously, each show takes on it’s on a style of its own, but the basic “bones” of how to organize a season, I learned on “Wings.”
I really appreciate Dave Hackel taking the time to answer my questions, and I hope you enjoyed his insight into the inner-workings of this great series.
Check back next week to see Part Two of his interview about writing the Wings episode, “Murder She Roast.”
Long before the advent of television, radio was where situation comedies began their evolution. Radio comedies like My Favorite Husband, The Adventures of Ozzie and Harriet, Fibber McGee and Molly, and Father Knows Best were pioneers in the sitcom format. Many of the ones mentioned here would be adapted to television. What had worked in one medium would translate seamlessly into another: the situations and the comedy.
These shows work and deliver continuous laughs thanks to the hard work and dedication of those who write them. They understand how to craft an effective joke and understand the value of a strong story and dimensional characters that can help elevate the comedy.
One of my favorite series is Wings, which celebrates its 30th anniversary this year. I had the honor of interviewing television writer Dave Hackel, who wrote many of my favorite episodes of Wings, and also worked on Fraiser (another favorite of mine), and created Becker (another favorite of mine, too).
In Part One, Hackel talks about his time working on Wings. In Part Two (posting next Wednesday), he talks about the writing process for one of my favorite episodes of Wings, “Murder She Roast.”
Enjoy!
Talk a little about your writing career before Wings.
My television writing career began a little over ten years before “Wings.” I’d worked on comedies, dramas and variety shows. After having the opportunity to try my hand at those different formats, I found I was most drawn to writing comedy and put all of my efforts toward finding work in half-hour sitcoms. Little by little, a was able to gain a foothold in that area, writing a number of single episodes for different shows and going on staff for a few others.
How did you get the opportunity to write for Wings?
I’d done the first year of “Dear John” at Paramount Studios before meeting Casey, Angell and Lee. They’d sold the pilot of “Wings” to NBC and were putting together their staff for the first season. I was looking to make a change and submitted a few scripts as writing samples. They liked what they read, we all seemed to like each other and they asked me to come on board.
What was a typical writers room week like on the series?
We filmed on Tuesday nights, so production weeks began on Wednesday morning. The new script was read around the table with the cast, the director, the entire staff as well as representatives from both the studio and network. After the reading, the cast and director would go to the stage to begin rehearsing and the rest of us would discuss the script and decide what worked well and what needed to be rewritten. We’d see a run-thru of the show at the end of each day, learn what we’d fixed and what still needed work. The staff would then begin that day’s new version of the script. Sometimes there’d be just a little work to do - writing new jokes, smoothing dialogue and responding to specific problems that the actors and director had pointed out. On other days, whole scenes would be thrown out and redone. Each day’s rehearsal was a learning process and hopefully each day’s work would improve the script so that the best possible version would be ready to put before an audience by the following Tuesday evening.
During the day, before rehearsal, the staff would be working on upcoming scripts. Finding new stories, working as a group to rewrite others that were in the pipeline and making sure we had a new script in shape for the following Wednesday morning.
How were ideas pitched?
At the beginning of each season, we’d throw out many ideas for shows. Everyone would participate. Sometimes we knew of a overreaching theme for the season and pitch to that, sometimes a story would emerge as we wrote to various actors and their characters strengths. When trying to fill a season, literally everything is possible fodder for an episode. We writers would mine our lives for stories — little things that had happened to us, memories from our childhoods, something funny our friends did or that we’d overheard a stranger say — everything was fair game to be expanded upon to make an episode. We had good characters to write for and also the airport setting allowed for interesting characters and their stories to walk into the terminal or off an incoming flight.
How were episodes assigned to be written?
Sometimes a writer would come in with an idea they especially liked and wanted to write. Other times the tone of a story might be better for one writer to tackle than another. Other times it was as simple as “Who’s next?” With an entire season of episodes to complete, all the writers were usually busy on a script.
What were the table reads like?
Usually, the table reads were a lot of fun. Lots of laughs. But the staff was working during the reading. We all knew that the rest of our day would be devoted to fixing any problems the became evident during the reading so we were all taking notes about what worked and what didn’t, what attitudes might need adjusting, what scenes might need to be reordered or, in some cases, eliminated.
How much input did the actors have in crafting and defining their characters?
The actors had a lot of input. They were welcome to bring up problems and ideas to the staff, but mostly their input was realized by their performances. Slowly but surely as a series grows, the characters evolve. Ideally, a level of trust gets established between the actors and the staff as we write to the actors’ strengths. Subtle changes get made from all departments. For instance, an actor might respond to or request a certain type of wardrobe that helps establish the type of person their character is. Notice Joe Hackett’s button down, put together look vs. Brian Hackett’s which was crazier, more colorful and casual. Tim Daly’s performance helped define Joe and we all wrote to it. Steven Weber’s performance helped define Brian and we wrote to that, too. So, working together the characters grew, as did the stories about them.
What was one of the challenges you faced as a writer on Wings?
One of the biggest challenges was that we had so many characters to service in each script. Six to begin with. Then seven, when Tony Shalhoub joined the cast. And another when Farrah Forke came aboard for a couple of seasons. Then Amy Yasbeck later. If one character was heavy in one show that naturally meant someone else’s would have less to do and being fair to both the actors and the show overall was always a concern.
What was your favorite part of being a writer on Wings?
Wings was a very “joke heavy” show. And, luckily, we had actors who could deliver. So it was especially gratifying to write funny lines and hear the immediate response from the three hundred people in the audience.
What is your favorite episode of the series?
That’s a difficult question. I like some more than others, of course, but a favorite? Of the ones I wrote, I liked “Four Dates That Will Live In Infamy” and “Murder She Roast” the best. Another I really enjoyed was “Das Plane” with William Hickey as the guest star. Another was “Joe Blows - Part One.” Thankfully, there are really too many good episodes to choose from.
What was tape night like on the set as a writer on the series?
Rewriting on a sitcom never ends. On shoot night we all followed along carefully and constantly threw in new and improved jokes for additional takes. Anything that could improve a moment — a line, a word, a pause — we’d try anything and everything to get the best possible show.
Did you have a favorite character you liked writing lines for?
Enjoyed them all for different reasons. Brian, Lowell and Antonio were the most fun to write for — each had a very unique voice and approach to comedy.
How long were you a writer on the series? When did you exit the series? After your exit, did you then move on to work on Frasier?
I was with the show for, I believe, 95 shows. When I left, I created a short-lived series with Grub Street called “The Pursuit Of Happiness.” After it was cancelled, I consulted on “Frasier” one day per week for a time before creating “Becker.”
How did being a writer on Wings prepare you to create your own series, Becker?
It was invaluable training. Casey, Angell and Lee brought the “Cheers” way of doing things with them and adapted it to their shows. I liked the way they laid out the season and the individual shows and tried to emulate that production method with “Becker.” Obviously, each show takes on it’s on a style of its own, but the basic “bones” of how to organize a season, I learned on “Wings.”
I really appreciate Dave Hackel taking the time to answer my questions, and I hope you enjoyed his insight into the inner-workings of this great series.
Check back next week to see Part Two of his interview about writing the Wings episode, “Murder She Roast.”
Wings Wednesday: Television Academy Interview with Wings Co-Creator, David Lee
Whether writing a novel or a TV series, the creative process can involve a multitude of ideas and concepts that evolve over time. What we see on the page or on the screen often differs a lot from what the creator initially had in mind when they set out to create their story.
Below is a clip from a Television Academy interview with writer David Lee who co-created Wings and Frasier with David Angell and Peter Casey. Listen to how the concept of Wings and its characters evolved from an idea to pilot, and know that it’s 100% okay to not stay locked-in to one idea.
Watch the Clip Here!
Do you have story ideas that you feel need to evolve and change to make your writing stronger and more compelling? Don’t be afraid to take risks and make the necessary changes to get your story to work!
Below is a clip from a Television Academy interview with writer David Lee who co-created Wings and Frasier with David Angell and Peter Casey. Listen to how the concept of Wings and its characters evolved from an idea to pilot, and know that it’s 100% okay to not stay locked-in to one idea.
Watch the Clip Here!
Do you have story ideas that you feel need to evolve and change to make your writing stronger and more compelling? Don’t be afraid to take risks and make the necessary changes to get your story to work!
Writing Tip of the Week: The Importance of Conflict in Your Story
Most of us go about our daily lives determined to avoid conflict. In the real world, it can be a real pain dealing with angry, disagreeable, and aggressive people, which can, in turn, negatively impact your day as a whole. If we find ourselves involved in a conflict, our primary goal is to end it or get away from it as fast as possible.
Obviously, there are those in the world that thrive on conflict and cause trouble for others, but for the most part, people like to have a semblance of peace in their day-to-day lives.
I’m sure you’ve heard the phrase, Conflict equals Drama, and it’s true. Conflict is a must-have in the fictional world of a novel, a TV show, or a movie. Conflict helps drive the story forward, reveal character, and create an intense dialogue between those in conflict.
Suppose a story lacks a conflict for your protagonist. In that case, it can drag, feel aimless, and even cause the reader or viewer to lose interest. So, let’s talk about conflict and how to keep things alive in your story.
How Big Should the Conflict Be?
Not all conflict revolves around world-ending superhero movie stakes. A conflict can be as simple as a disagreement between the main character and another character. It can also be during the final showdown between the protagonist and antagonist. It’s something that puts a wrench in the protagonist’s day, and it’s something they have to work to overcome to get to their sense of normalcy once again.
Let’s look at story conflict on a scale of 1 to 5. One is the bare minimum. Maybe it’s a couple who can’t agree where to go to dinner or siblings who can’t decide whether to get a cat or a dog. Simple, low-stakes conflicts that will probably have an amicable resolution sooner than later.
A five is a relentless assault on the main character that has no clear end in sight, and the antagonist has the upper hand from the start. Horror movies are often a 10. Superhero movies can be up in the 10s. Disaster movies as well. High-stakes and a lot to lose if the main character is defeated.
In the middle are stakes and conflicts that can mirror real life, raise stakes, and create consequences for the main character. They aren’t easy to resolve but have some kernel of hope of a win nesting inside them.
Think about what you’re currently writing. What are the main conflicts the protagonist faces? Are they Ones? Fives? In the middle? Then ask yourself if the conflict is big enough for your main character to fight to defeat whatever the conflict is. Will the struggle? Will they suffer in some way? Have setbacks? Will these conflicts help them grow as a character?
Don’t Fear Conflict
It’s okay for your main character to argue with someone. It’s okay for the protagonist to disagree with other characters. If your protagonist gets their way from chapter one to the final page, it’s going to be a dull and predictable story.
Hallmark movies have conflict. As you read this, Hallmark Channel has started airing Christmas movies 24/7. Never seen one? Watch one and jot down the main conflicts that the main character faces throughout the story. On our scale, they are probably 1s and 2s (if you want 3-level conflict, flip over to Lifetime), but there is still conflict present.
When we hear the word Conflict, we think of shootouts, explosions, fistfights, and screaming matches. But conflict can take many forms rooted in a more realistic world than Batman versus The Joker.
Sitcoms can create a conflict out of a minor situation and expand upon it for 22 minutes. One of my favorite shows, Frasier, does this beautifully. From minor disagreements, misunderstandings, past rivalries, and more, these smaller conflicts can be a well-spring of material that can be used that don’t have to result in Metropolis or Gotham City being destroyed.
And just because your main character argues with someone doesn’t make them unlikeable. It makes them appear more human, which is a good thing.
External & Internal Conflict
What's causing the conflict in the story? If it's something outside the main character's control, it's an External Conflict. It disrupts the protagonist's world that has to be resolved to return to their sense of normalcy.
Most stories revolve around External Conflicts. There's a threat, a natural disaster, an antagonist creating chaos. Whatever it is, it's outside the main character.
Internal Conflicts can be a direct result of an External Conflict. Still, these are things the main character is struggling to overcome that are causing issues within.
Maybe they were just served divorce papers. The divorce is an External Conflict, but the feelings the main character has are an Internal Conflict. The protagonist must resolve the External Conflict (why does the partner want a divorce? Where are they? How can we fix this problem?). At the same time, they must deal with the Internal Conflict (what did I do to lead up to this moment? How can I change and become better? Is there something wrong with me as a partner?).
All characters, like real people, need to have an External and Internal life, which assists in creating the External and Internal Conflicts that serve the story and help the character grow and change within and without.
As you work on your story, think about how the external events are affecting the main character internally. How are their thoughts, feelings, and fears impacting their ability to stop the External Conflict they've been thrown into?
Conflict as a Driving Force
Conflict creates problems for the protagonist. In turn, the active protagonist sets out to resolve and end the conflict. Other conflicts may pop up in the meantime that must be tamped down as the main character continues their pursuit toward their goal of ending the conflict.
The majority of main characters in mainstream entertainment want to end the conflict they’re dealing with and go back to their life before everything got out of control. Of course, in working to stop and resolve the conflict, they will grow as a person and learn from their experiences, which creates their Character Arc.
Viewing for Conflict
Grab a couple of your favorite movies, a few episodes of your favorite TV shows, a novel you’ve read before, a notebook and a pen, and analyze the conflicts in each. Make a note about the main conflict, how the main character sets out to resolve it, and how they evolve throughout the story to end the conflict.
Now, look at your story and see where conflict can be increased and the stakes raised for your main character. What is your protagonist’s goal? How do they initially plan to resolve the conflict that has presented itself and upturned their calm state of being? How will they change as they work to resolve the conflict? Will they become a better or worse person by the story’s end?
Happy Writing, and I’ll see you in two weeks!
Obviously, there are those in the world that thrive on conflict and cause trouble for others, but for the most part, people like to have a semblance of peace in their day-to-day lives.
I’m sure you’ve heard the phrase, Conflict equals Drama, and it’s true. Conflict is a must-have in the fictional world of a novel, a TV show, or a movie. Conflict helps drive the story forward, reveal character, and create an intense dialogue between those in conflict.
Suppose a story lacks a conflict for your protagonist. In that case, it can drag, feel aimless, and even cause the reader or viewer to lose interest. So, let’s talk about conflict and how to keep things alive in your story.
How Big Should the Conflict Be?
Not all conflict revolves around world-ending superhero movie stakes. A conflict can be as simple as a disagreement between the main character and another character. It can also be during the final showdown between the protagonist and antagonist. It’s something that puts a wrench in the protagonist’s day, and it’s something they have to work to overcome to get to their sense of normalcy once again.
Let’s look at story conflict on a scale of 1 to 5. One is the bare minimum. Maybe it’s a couple who can’t agree where to go to dinner or siblings who can’t decide whether to get a cat or a dog. Simple, low-stakes conflicts that will probably have an amicable resolution sooner than later.
A five is a relentless assault on the main character that has no clear end in sight, and the antagonist has the upper hand from the start. Horror movies are often a 10. Superhero movies can be up in the 10s. Disaster movies as well. High-stakes and a lot to lose if the main character is defeated.
In the middle are stakes and conflicts that can mirror real life, raise stakes, and create consequences for the main character. They aren’t easy to resolve but have some kernel of hope of a win nesting inside them.
Think about what you’re currently writing. What are the main conflicts the protagonist faces? Are they Ones? Fives? In the middle? Then ask yourself if the conflict is big enough for your main character to fight to defeat whatever the conflict is. Will the struggle? Will they suffer in some way? Have setbacks? Will these conflicts help them grow as a character?
Don’t Fear Conflict
It’s okay for your main character to argue with someone. It’s okay for the protagonist to disagree with other characters. If your protagonist gets their way from chapter one to the final page, it’s going to be a dull and predictable story.
Hallmark movies have conflict. As you read this, Hallmark Channel has started airing Christmas movies 24/7. Never seen one? Watch one and jot down the main conflicts that the main character faces throughout the story. On our scale, they are probably 1s and 2s (if you want 3-level conflict, flip over to Lifetime), but there is still conflict present.
When we hear the word Conflict, we think of shootouts, explosions, fistfights, and screaming matches. But conflict can take many forms rooted in a more realistic world than Batman versus The Joker.
Sitcoms can create a conflict out of a minor situation and expand upon it for 22 minutes. One of my favorite shows, Frasier, does this beautifully. From minor disagreements, misunderstandings, past rivalries, and more, these smaller conflicts can be a well-spring of material that can be used that don’t have to result in Metropolis or Gotham City being destroyed.
And just because your main character argues with someone doesn’t make them unlikeable. It makes them appear more human, which is a good thing.
External & Internal Conflict
What's causing the conflict in the story? If it's something outside the main character's control, it's an External Conflict. It disrupts the protagonist's world that has to be resolved to return to their sense of normalcy.
Most stories revolve around External Conflicts. There's a threat, a natural disaster, an antagonist creating chaos. Whatever it is, it's outside the main character.
Internal Conflicts can be a direct result of an External Conflict. Still, these are things the main character is struggling to overcome that are causing issues within.
Maybe they were just served divorce papers. The divorce is an External Conflict, but the feelings the main character has are an Internal Conflict. The protagonist must resolve the External Conflict (why does the partner want a divorce? Where are they? How can we fix this problem?). At the same time, they must deal with the Internal Conflict (what did I do to lead up to this moment? How can I change and become better? Is there something wrong with me as a partner?).
All characters, like real people, need to have an External and Internal life, which assists in creating the External and Internal Conflicts that serve the story and help the character grow and change within and without.
As you work on your story, think about how the external events are affecting the main character internally. How are their thoughts, feelings, and fears impacting their ability to stop the External Conflict they've been thrown into?
Conflict as a Driving Force
Conflict creates problems for the protagonist. In turn, the active protagonist sets out to resolve and end the conflict. Other conflicts may pop up in the meantime that must be tamped down as the main character continues their pursuit toward their goal of ending the conflict.
The majority of main characters in mainstream entertainment want to end the conflict they’re dealing with and go back to their life before everything got out of control. Of course, in working to stop and resolve the conflict, they will grow as a person and learn from their experiences, which creates their Character Arc.
Viewing for Conflict
Grab a couple of your favorite movies, a few episodes of your favorite TV shows, a novel you’ve read before, a notebook and a pen, and analyze the conflicts in each. Make a note about the main conflict, how the main character sets out to resolve it, and how they evolve throughout the story to end the conflict.
Now, look at your story and see where conflict can be increased and the stakes raised for your main character. What is your protagonist’s goal? How do they initially plan to resolve the conflict that has presented itself and upturned their calm state of being? How will they change as they work to resolve the conflict? Will they become a better or worse person by the story’s end?
Happy Writing, and I’ll see you in two weeks!
Writing Tip of the Week: A Conversation About Conflict – Part Two
Last time, we explored three aspects of conflict and how conflict impacts a narrative. Today, we’ll explore three more reasons conflict is essential to any story and ways to utilize it. Let’s continue.
Conflict Keeps Our Attention
Have you ever watched a movie or read a story where nothing interesting happens? Your eyes glaze over, you check your phone to see how long you have before the movie ends, or you close the book and find something else to read.
If there’s conflict, you’re more likely to draw a reader’s or viewer’s attention and keep it as things escalate during the scene or chapter. You want to keep them hooked and focused so they keep reading or watching to see how things are resolved.
In Captain America: Civil War, many conflicts are established early in the story. As these conflicts unfold, a series of related conflicts keeps us watching and curious about how things will ultimately play out by the end of the story: the final battle between Iron Man, Captain America, and the Winter Soldier.
Conflict Can Be Small or Large
Conflict can be as small as two characters disagreeing about where to spend the holidays, or as big as trying to stop Thanos from collecting all six Infinity Stones. The critical thing to remember is that opposing views or forces should lead to a conflict between characters in a story.
Whatever the size of the conflict, both sides have to feel strongly enough about their positions that it leads them to fight over it.
On All in the Family, Archie Bunker is in constant conflict with his son-in-law, Mike, about politics and social issues. This is a minor conflict when compared to a film like Dirty Harry, where the hunt is on to stop a serial killer who’s murdering people at random in San Francisco.
The conflict should be reasonable within the world of the story, and should be scaled up or down accordingly. The conflict in an episode of Frasier will be much smaller than in an episode of Game of Thrones, but there should still be enough conflict between the opposing viewpoints of the characters to keep things interesting.
Next Time…
We’re just getting started! More conflict-based posts are on the way, all throughout the month of May!
Happy Writing, and I’ll see you next time!
Conflict Keeps Our Attention
Have you ever watched a movie or read a story where nothing interesting happens? Your eyes glaze over, you check your phone to see how long you have before the movie ends, or you close the book and find something else to read.
If there’s conflict, you’re more likely to draw a reader’s or viewer’s attention and keep it as things escalate during the scene or chapter. You want to keep them hooked and focused so they keep reading or watching to see how things are resolved.
In Captain America: Civil War, many conflicts are established early in the story. As these conflicts unfold, a series of related conflicts keeps us watching and curious about how things will ultimately play out by the end of the story: the final battle between Iron Man, Captain America, and the Winter Soldier.
Conflict Can Be Small or Large
Conflict can be as small as two characters disagreeing about where to spend the holidays, or as big as trying to stop Thanos from collecting all six Infinity Stones. The critical thing to remember is that opposing views or forces should lead to a conflict between characters in a story.
Whatever the size of the conflict, both sides have to feel strongly enough about their positions that it leads them to fight over it.
On All in the Family, Archie Bunker is in constant conflict with his son-in-law, Mike, about politics and social issues. This is a minor conflict when compared to a film like Dirty Harry, where the hunt is on to stop a serial killer who’s murdering people at random in San Francisco.
The conflict should be reasonable within the world of the story, and should be scaled up or down accordingly. The conflict in an episode of Frasier will be much smaller than in an episode of Game of Thrones, but there should still be enough conflict between the opposing viewpoints of the characters to keep things interesting.
Next Time…
We’re just getting started! More conflict-based posts are on the way, all throughout the month of May!
Happy Writing, and I’ll see you next time!
