  Drama
This week: The Drama in Conflict Edited by: Kate - Writing & Reading  
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Welcome to this week's edition of the WDC Drama Newsletter. I'm honored to be your guest host for this exploration of dramatic writing
Don't tell me the moon is shining;
show me the glint of light on broken glass.
Anton Chekhov
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Greetings,
I'd like to explore what it is that makes a story or poem "dramatic"? Think about what makes a story or poem 'dramatic' = conflict.
So conflict, external and internal, is the essence of drama. Be it a mystery, romance, fantasy, spiritual, or non genre-specific; conflict binds the other elements of a dramatic story or poem.
Example: Sam was just trying to take a picture, but now felt trapped in the upper limbs of the maple.
Where's the drama? - the interest?
Example: Although cautioned by the ranger to stay on the trail and in the car, Sam had to get the cool close-up. He saw no immediate danger, but left the car in neutral, just in case, and approached the critters slowly, not wanting to distract them while he snapped pictures.
Sam didn't look back when he heard the roar behind him, but instinctively ran forward and scrambled up the tree just ahead of mama bear, losing only a shoe and a piece of pant to her reaching claws. Sam released the breath he had been holding and answered her roars with a high-pitched scream. "Hellllp!!!"
Here's the drama! First, Sam steps out of the car, but leaves it in neutral, in response to the warning. = we see subtle internal conflict.
Next, he runs from the charging bear ~ seriously scared = External conflict - nothing subtle here here.
The first example shows Sam in a tree as a result of trying to take a picture. So what? Did he just climb too high trying to get a better angle? Do you care?
The second example shows Sam, although choosing to disregard a warning, taking precautions - just in case (subtle, internal conflict). Then he experiences overt physical conflict by running from the bear and being treed. These are a couple of off-the-cuff examples, tell v.s show, that I think define drama in writing prose and/or verse.
{e:. taking precautions in response to a warning, while making the choice to disregard said warning. Then the overt physical conflict that ensued running from the bear and being treed. These are off-the-cuff examples, tell vs. show, that I think define drama in writing prose and/or verse.
 Internal conflict is what the character feels inside and its impact on the character. Internal conflicts involve or arouse emotion, whether it's an inner need, desire, belief, or turmoil. Resolving this quandary, whether constructive, destructive, successful or not, allows us to see into the character's mindset. As the story unfolds, the character learns from or grows as a result of that conflict.
 An external conflict involves an antagonist. It may be a sentient being or another form of life, or a physical obstacle (i.e., a swirling rapid, a firestorm, a six-lane freeway overpass). Engaging and either running from or surmounting the obstacle drives the story.
 Internal conflict adds meaning and complexity to the external conflict, but it's the external conflict that forces a character to make internal choices and changes. Make sense? And the key to a story's tension is that a character has to choose to act. What will he do? What will be the fallout? For readers to care about a story the choices, and the decision, must have consequences for the character.
 I think the need of having an antagonist is really the main character's need of something to force him or her to make choices. Characters, like we who envision them, don't normally take the hard path. If we're not forced to, we don't choose to create obstacles for ourselves.
So we force our character into choices when we create an antagonist to incite internal conflict with an opposing goal, even if the character is unaware at first of the goal. Remember, the 'antagonist' doesn't have to be an outlaw with a body-carving sized meat cleaver, it can be a storm, or a job interview, or a crazed sparrow.
While trying to reach his goal, your character encounters a series of conflicts or obstacles that would prevent him/her from reaching it. For example, if you have a bad guy these conflicts often result from run ins with the antagonist or his minions. Each external mini-conflict or bump must incite internal conflict, slowly teaching the character a life lesson or providing an opportunity to change.
At each mini-conflict we offer a choice, and doubts about making the choice. The character's decision, choosing among conflicting alternatives, makes us read with empathy, not just curiosity. We are intrigued by a character's actions largely in light of those actions rejected and the resulting stress.
We show the conflict by instilling emotion, tension and conflict into every conversation, in each scene, chapter, verse.
Dramatic conflict, up close. Consider when we deal with people in life with whom we have a conflict. Do we tell them everything we think and feel? No. But feelings get through in subtle ways, i.e., off-hand remarks, body language, and through the very mood of our actions. This creates an underlying dialogue that's more effective and compelling than the character blurting out everything he/she thinks and observes. The situations within the story are more complicated, both internally and externally, creating drama as our character is compelled to respond.
Now, my examples were off-the-cuff, but I think they make a point - drama is created through conflict and the choices the character makes to resolve that conflict, whether to his/her benefit, or detriment.
Write On ^_^
Kate
Kate - Writing & Reading
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I invite you now to read some dramatic works in prose and, yes, verse, created by members of our Community. I'm certain you will find their writing more adept than my ersatz examples and let them know it with a review perchance 
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Thank you for sharing this exploration with me in your virtual home. As a guest, I don't have an ask and answer, so I will close with my wish :
though the conflicts in your stories and poems may at times yield negative results
that your personal conflicts yield only positive resolution ~
while you have fun weaving your dramatic literary creations
Write On 
Kate
Kate - Writing & Reading
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Drama: August 06, 2014 Issue [#6475]
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