 Drama: April 22, 2009 Issue [#3003] |
  Drama
This week: Edited by: Joy  
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"Drama, instead of telling us the whole of a man's life, must place him in such a situation, tie such a knot, that when it is untied, the whole man is visible."
Leo Tolstoy
"He who is not tempted, what does he know? And he who is not tried, what are the things he knows?"
Ecclesiasticus- Bible
"We usually know what we can do, but temptation shows us who we are."
Thomas Kempis
Hello, I am Joy , this week's drama editor. In this issue, we are going to talk about temptation as a dramatic theme.
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Welcome to the Drama newsletter
Before I jump to our topic in this issue, I would like to stress on the importance of site-run contests. If you want to hone your writing skills, try at least a couple of them. You'll find they offer important themes, genres, types, and interesting prompts to write for. Whether you win or lose, you’ll get at least three impartial reviews by WdC’s more experienced writers, and you’ll be competing with a wide variety of writers in our site. The reason I am saying this is because, for this newsletter, April’s "Quotation Inspiration: Official Contest" was an inspiration for me with the subject of “temptation” and the prompt “I can resist everything except temptation. ” – by Oscar Wilde
Temptation is a great instigator of drama. Who among us has not been tempted by one thing or another? Then, how many people can resist temptation or is it easy to resist temptation?
Temptation stories are character driven. Since they involve character, they have been the inspiration and even the theme of many scriptural writings in the world.
Since anyone can yield to temptation, any character you build can be exposed to it. In a temptation story, usually the protagonist is the one who fights against or succumbs to temptation. Temptation makes a protagonist seem more human while it causes the reader to empathize with him more. Most of the time, the nature of the protagonist and the nature of the temptation need to be of equal strength. When the protagonist clashes with the temptation, the conflict of the story is born. Consequently, the conflict is at its strongest when it brings on inner turmoil to the protagonist.
Whatever the temptation is, illegal or socially undesirable, this type of a plot has great power. While it enhances the writer’s ability, it moves the reader emotionally and also gives him something to think about.
During the first part of the temptation story, your protagonist will probably give in to temptation even if just a little bit. If he doesn’t, there is no story. Afterwards, he may rationalize or cover up his behavior because internally, he goes through a period of denial.
In the second part of the plot, short term effects or negatives like guilt, cooling off, social incrimination, and loss of other important benefits will emerge. The gist of the story is at this point, after your protagonist has fallen to temptation. Whether he tries to escape internal or external responsibility and punishment or faces his situation head on, he’ll feel the negative effects. You’ll need to write this part very carefully.
At the last part of a temptation plot, protagonist’s internal conflict is resolved through atonement, reconciliation, or forgiveness. Keep in mind that it is always harder to forgive oneself even if the others can forgive and forget. As a result, your character will gain something although he has lost and paid heavily for his actions.
Before you start on a temptation story, think of what lies within the specific temptation you have picked. Make a list of the ways to show the nature of this temptation. Why would a character struggle against it? What makes this temptation tempt some people and not others? What kind of people are tempted? What are their backstories?
Make a list of the ways to put forth the inner struggle of your protagonist. Show his inner conflict and how it affects his persona from an external view. Make a list of these steps throughout his ordeal.
After your character has given in to temptation, think of the effects of his action on the people around him. List what kinds of impacts his fall to temptation will cause. Will he confess or will he try to avoid punishment and escape responsibility? What is moral or immoral in his behavior? What will the moral argument be at the end of your story? For a satisfactory ending, your character will need to try to fix things. Write down what his actions will be.
A temptation story deserves good plotting, so its ending can deliver. Even if you are a writer who writes without a plan, do not forsake at least a simple outline and substantial character portrayal before you start writing the story seriously.
Until next time, best wishes with all your temptations.  |
Enjoy!
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A Play Script:
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A Writing Challenge
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Thank you for reading the newsletters and for supplying the editors with your feedback. 
Now, let's take a look at a tip.
This Issue’s Tip:
 What you don't say may leave a stronger impact than describing every single detail. Yet, if you don't tell enough, you'll leave the reader hanging. The threat of the unsaid works better with suspense stories because this is a subtle technique. It wouldn't work well with stories in the action/adventure genre, since action is direct and not subtle.
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pooja_sr
Good one, Joy! In my opinion, negative emotions are best portrayed when the writer is going through them himself, only then will the characterization look remarkably real. Keep 'em comin'!
Thanks, Steph.
One needs to be a good student of human psychology, but then, most writers are. We get that knowledge through sheer observation.
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StephBee 
A great look at weaknesses and how they can play into the conflict of drama. I liked the tip at the end. A two thumbs up newsletter!
Thanks, Steph.
I learn from my more-senior editors. 
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Rooster Roo 
This is very good. Thank you.
Rooster Roo
Thank you, too, Roo.
I am glad you liked it.
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esprit
Another edition of very useful information, Joy. Breaking these emotions down to show how weaknesses are born and developed is a wonderful topic. New writers should pay particular attention to practicing these 'hidden' elements that bring life to writing. This is a keeper, thank you.
Thank you, too, Esprit.
Weaknesses and emotions are the bread and butter of fiction, I think. Trying to penetrate into their depths enables us to show the truth inside the facts.
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Fallser
Hi Joy,
Thank you for the newsletter on weaknesses! Very helpful to get me past a "what next" blockage I have with two stories in progress.
You're welcome, and thank you for the feedback. Best wishes with your two stories.
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