novel story - Compilation and maintenance of conflicts voltage to the Romance

"Dan was on the wet pavement, his arms dangling at his side, hanging chin in horror when he saw through a gap in the curtains. Before him, a man slipped in the face of his wife when she was lying on the sofa.
"Leave my wife alone, his mind screamed silently. His mouth formed the words, but there was no sound.
On the sofa, his wife smiled and opened her arms inviting. Dan has not noticed her car keys and drop between your fingers numb. They landed in a puddle at his feet with a dull clank. At the sound, the stranger turned to the window. Dan's heart skipped a beat as he recognized the features of the tanned man in his house ..
He wondered what it would be difficult to kill his best friend. "
Does this snippet lets you ask for? I hope so - this was the point.
The conflict is the driving force of good fiction. Without it there is no history. The good news is, the conflict is creating a lot easier than you might think.
Many new authors believe that the conflict is by a story as simple as inserting the violence in the plot. Nothing could be further from the truth. The conflict in the above example is only present in the emotional state of the Dan. Physically he is not moved out of the window.
Allow me to write you an example, without conflict.
Dan is home from work. He left the car and ran to the car to escape the rain. Through a gap in the curtains, he saw his wife was expecting his arrival. She was curled up on the sofa, a serene smile on his face. His car keys fell from his hands and bent to pick them up, before hurrying home.
Now tell me - would you like to see more than 400 pages so?
Did you happen to notice this point of view of Dan is exactly the same in the two examples? It is always outside and looked through a crack in the curtains and watched his wife on the sofa. The difference is, I have tension and suspense by an emotional conflict is to see the Dan and feel.
In the first instance, I added the ad, it's raining. This is a feeling of physical conflict introduced. Dan's first impulse was to be carried out in the house. It ignores this movement hard and physical discomfort, because he employs emotional.
In the second example, there's really no reason for the reader to continue. Nothing special or unusual happens to the characters. undesirable happens. Where is the point of continuing to turn the pages?
Risk
In the first example above, Dan tries to cope with the conflicting emotions of watching his wife with another man. The last line leads, but a certain risk. Morally, the murder of a man for most people is incomprehensible. But before a large enough emotional dilemma Dan holds risk. Most importantly, we have touched a nerve inside the reader Dan shows why he acts and feels like it is.
The insertion of a conflict in interest is it useless if the person is exposed to a degree of risk. In this scenario Dan for the rest of his life could be imprisoned if the template for the murder. The situations and feelings that your characters must live, still feel for the reader credible.
If I had written that Dan just walked into the house and beat his friend's face, the risk does not exist. Dan has nothing to lose (except maybe his wife), and the reader has no reason to read on.
Empathy
Most people can relate feelings of helplessness and despair, Dan, as he looks in the window. This also affects the deep anxiety of the people, so is the tension all the more poignant because of it.
But even if Dan is considering murder, which most people can identify with him because he is the dilemma that is one thing that people can identify with.
Imagine feeling like you, if Dan had run inside his jacket and joined with Rendezvous pair? The conflict is played, empathy is broken, and the reader is unbalanced.
When you create a scene, remember that your readers to see, want to win the protagonist. But it does not do anything to win, if the operations were never high enough to make your hero in the first place.
Mount Bids
Now Dan has a women's affair with his best friend. This conflict is enough to a reader browses in advance to hold up to 400 pages? Probably not.
Of course, Dan is planning the murder of his best friend. But he has not really done anything. He always looked out the window, remember? Is that enough to keep an avid reader for another 400 pages? I doubt it.
After the initial shock to the first war is over, the reader is a new war to keep the tension high.
It is time to raise the stakes.
"A booming thunder announced a lightning and rain gave way to a barrage of stinging hail. Dan shook his head, lifted her stupidity and pulled away from the window. He ran back through the blinding hail to his car, his mind works angry. He had always a small pistol in the glove, but it is unclear whether it was loaded. A quick check was assured.
He swallowed the tears that loved the idea of shooting two people at most, he threatened to beat in the world and ran home. "
So now Dan is simply considered murder. It will do really! This forces the reader to ask questions. Will he do it? And if he killed both, it can take? How will he ever escape prosecution for murder twice?
Not only does this increase the voltage of our history, but it throws the reader into the dilemma, too. Is it possible, even an empathy for the characters rapidly cold-blooded murderer is a feeling? Your player is simply read on to find out.
Complications Rising
After Dan kills his wife and his best friend, if not a writer go from here? After the couple rendezvous is dead, so what? Of course, Dan is concerned with escaping the long arm of the law, he has his own conscience ...
Or we could take the reader into a situation that is more threatening than the first.
"Added Dan sneaked into the living area, with an outstretched arm, gun wavering uncertainty ahead. With an effort, he calmed his handshake and entered the room. The pair hugged on the couch n 'had not noticed his entrance. He took a deep breath, Steeling himself against the nausea that sprang from the depths of her womb and gives his finger on the trigger.
"... And yes, dear, if you push him down the stairs, it looks like the perfect accident will."
"Will you help me with ... you know ... the body?"
Of course. "No one will ever know. I'm too high in power, to be interviewed in a survey of this kind."
Phew! Only when the reader thinks it would be wrong to murder a man as the protagonist in love, he cheats on his wife and his best friend have conspired to kill anyway.
The problem is, he knows they want him dead and he can not go to the police - not now that we know is a friend of the police member. Who would have believed his story about the word of an agent?
Is it likely that readers still managed to see the pages turning, as he beat at this rate?
Create a conflict should be as easy as you ask the questions at every stage - and then force them to respond honestly to continue.
Learn more about the actions of your characters
Is your hero respond realistically to the conflict that you have thrown at him? Would he really do that?
Learn more about the situations that you have written
Would it really bring a gun?
The situation is really desperate enough to contemplate murder?
Learn more about the continuity
This step is the stage of history further?
Should I use the story to every part of the scene, to describe my readers, so they get the mental image is clear?
Is it a scene show hums Dan sitting on the toilet for forty minutes, the theme song of The Simpsons will increase or decrease the voltage?
Most importantly, questions about your readers
Why care what happens sign your readers?
Why keep the reader turning the pages?
Why read the reader want to know what happens next?