Dramatizing Conflicting Emotions and Values | Barbara Vance | Skillshare

Dramatizing Conflicting Emotions and Values

Barbara Vance, Author, Illustrator

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10 Lessons (46m)
    • 1. 1 Introduction

      5:00
    • 2. Planning Internal Conflict: Three Questions

      3:57
    • 3. Expressing Emotional and Value Conflicts

      0:58
    • 4. Structural Ways to Show Internal Conflicti

      1:14
    • 5. Creating Consistent, but Conflicted Characters

      4:17
    • 6. Conflict Over Several Scenes Making Each Scene Unique

      5:59
    • 7. Conflict Over Several Scenes: Values Ping Pong

      11:16
    • 8. Conflict in One Scene

      4:23
    • 9. Value Conflict via Exposition

      5:07
    • 10. Final Thoughts and Class Project

      3:37
13 students are watching this class

About This Class

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Welcome!

This course will help you plot out your protagonists conflicting emotions, values, and goals so that the reader feels their tension. It is important to demonstrate internal conflict throughout a story in different ways so that decisions your character makes are full of drama and are also believable.

Have you ever watched a film or read a book and you either did not care what happened or the actions of the character did not seem believable. Often this is because the author/screenwriter has not adequately demonstrated:

  1. What the conflict is
  2. The ramifications of choosing one value/need over another
  3. How the character feels about his choices and options

In this course, you will learn

  1. Ways to show internal drama in a story
  2. How to avoid making a character seem unreliable/unrealistic while also showing genuine inconsistencies in his decisions.
  3. How to build tension scene by scene

Often, writers do not put enough energy into demonstrating a variety of ways in which a character's internal conflict affects him and those around him. Showing conflict mean multiple scenes in which one value wins out over another sometimes and loses to it other times. BUT--if you just follow this plan you can find yourself with scenes that essentially tell the reader the same thing.

Part of the challenge is showing that a specific value conflict is occurring throughout the story (same value conflict) but looking at that conflict from different angles so that the reader gets a full sense of the issue without feeling like you are telling her the same thing over and over again.

This course is helpful to writers of all levels. We delve into some detail, using a case study as an example that we will work through.

By the end of the course you will have a better idea of how to plot out and write your character’s internal struggles.

The class project gives you the opportunity to write a short scene or a series of short scenes depicting internal struggle. It walks you through three steps that will help you make sure you are covering your bases. I really recommend completing it because it will solidify concepts in the videos.

Hope you enjoy!

~Barbara



Transcripts

1. 1 Introduction: Hi, everyone. My name's for events. I've had the good fortune for many years to teach storytelling a character development, creative writing in a number of other creative subject fields to a lot of wonderful and talented individuals. And I'm so glad to be here to share this information with us. Well, this course is part of my character development, Siri's. And in this one I'm very excited. We're focusing on value and emotion conflicts off a character in a story. This class is going to be great if you're creative writer. If you are an actor, even if you're interested in sort of business and people relations, this course will be fabulous for you. So what are we going to cover? Your protagonist? And indeed, numerous characters in your story all have things that they want, and they all have things that have an emotional attachment to them. Your characters have wants and needs. Those wants and needs are attached to their values, and that has an emotional attachment, so wants and needs values and emotion. And when we are crafting a story, we have to decide. How do I actually manifest this in my story? This is not a video about choosing what she wants your character's wants and needs to be what your character's values are, what your character's emotions are. That's not this video. That's not this course. This course is about. Once you've made those decisions, how do you actually manifest that in your writing? How do you show that to your readers? Characters are in conflict. People are in conflict. Conflict is what makes the story interesting. But values are not that simple. If our character was completely consistent and everything that she wanted, she got and she never had an issue between two things there, there would be no story. It would be very boring because everything would happen exactly as we wanted it to, and that would just who's going to read that? And that's not fun. I mean, it's I guess it's part of It's our life. So we are always Justus human beings going through conflict. I might want that ice cream, but I don't want the calories. I might want my job, but I don't feel like waking up this morning and going to it. I might want on a on the test, but I don't feel like studying we are constantly navigating choices. And when we look at those choices, we also are looking at what is the value? What are the characters values? Because the characters decisions are going to say something about their values. If I'm a student and I want my A in my class, but I don't feel like doing the studying and I don't want to go to the study sessions, do you re just going to look at that and say, What's she going to do if the character goes to the study sessions and four goes the family events for the study session doesn't go to her brothers birthday bash because she's studying for her course. We understand that in this instance, the priority is for school and academics over family. It's not like it's is always this easy choice where it's like you're choosing between robbing a store or not. That's a more obvious one, but getting a good grade of going to your brother's birthday bash. The other two good things she wanted to do with them both, but she had to choose one. And this is why the emotion bit is important, too, because what's her motion with that is she way. Can't just look at it and say, Oh, her values are clearly School school comes first. That's that that simple. It's not that simple. What is her emotion about that? Is she conflicted that she's not going to her brother's party? Is she reviewed? She's not going to her brother's party. There's a value decision that's being made, but those their emotions attached to it. That's what this course is about. How do we navigate what is actually quite quite complex? Your characters are going to feel more rail to your audience. If they have these conflicting emotions, you want to show them going through exactly the sorts of things that we go through every single day and with so many things constantly in conflict. So you want to bring that realism to your characters. That's of interest. This is the course for you, so let's get into it 2. Planning Internal Conflict: Three Questions: When we start planning out how we're going to demonstrate the emotional conflicts, the value conflicts of our characters, there are three primary questions that we want to ask that will help us to sort of map that out. First is what to values or emotions are in conflict. So what are the two things were choosing between and again, each of those values. There will be emotions attached to that conflict. There will be emotions attached to that value. So when you're looking at them, you're going to say, What are the values? The second question is which I is going to win now the there there is a large story happening here, right? So in some scenes, one value is going to take priority over the other. That's going to give back and forth throughout the story. If you're writing a novel and in every scene your student prizes academics over family, we're not seeing terribly much of a conflict because we clearly know where she stands. We know how she feels unless you're telling us constantly how bad this makes her feel, but that she's constantly choosing it that is less of a conflict. What demonstrates more of the conflict is if we have scenes in which she's choosing academics and scenes in which she's choosing family, and how does she navigate that? So what that means is that with these questions you're asking, you're asking them for various scenes throughout. But then you're asking them for the overall narrative as well. So the end of the day does she choose academics? What is her realization about academics versus family life? But the the end of a narrative? How does she come to terms with the conflict? If you write a story and you build up, there's this tension, tension, tension all the way through academics of family. What's she going to do? And then you don't give us any sort of resolution that she comes to about that. What's her resolution? Then why did you build up all that conflict in the narrative? So you have to know what's the big the big revelation or decision she makes about that conflict? And then how do we see it play out in lots of little ways throughout the story? So, first question, What are the values at stake? Second question. What values going to win? Third question How does the character feel about this? How does the character feel about this? We're not going to write a scene in which just say Sally chose to go to the study session rather than going to a brother's birthday. You're going to say she felt a pang of regret or she felt relief. Or she felt something because of motions are attached to our decisions. And your readers aren't going to just associate with actions. Just watching her do things isn't going to tell us anything. We have to understand how she actually feels about that so knowing and for each of these scenes that you do in which you're demonstrating the value conflict happening, you need to know not just what's the character going to choose in this instance? But how does the character feel about it? And if you do that, this three question formulas formula. But these three questions will help you to make a really solid, solid conflict that builds throughout the story, and it makes that final revelation resolution feel satisfying. Feel right 3. Expressing Emotional and Value Conflicts: now then there are several ways you can express value conflicts. You can express them through action through thoughts, through dialogue to back story that you tell three motions. Employ all of these. Use them all. Don't just rely on one. Don't not have your characters talk. Don't not have your characters act now. If you've watched my videos then you know rules are just that the rules and you can do whatever you want. So don't take This is this is a must do You must do it this way. You have to do it this way. It is a general guideline. The guidelines not rules the guidelines everything. I'm telling you everything I tell you about writing, you could go out. You could find a book, a novel, the short story of film with screenplay whatever that totally broke that. And that's the glorious thing about creative writing. So just keep that in mind. These are guidelines, but in general I recommend employing all of these things 4. Structural Ways to Show Internal Conflicti: when it comes to the nitty gritty. The Okay, yes, that's gray. Theoretically, nice. But how do I actually write that into my story into my screenplay? What does that look like? There are three primary ways that you can manifest this conflict throughout your narrative . You can show the values conflicting in a series of scenes, so that is showing them throughout. You can show those values conflicting in a single scene in which we see that happening, and you can tell us that that value conflict is happening through exposition, where you just sort of overarching your that narrative voice and you describe it rather than us seeing it play out either over a series of scenes or in one. All three of these have a place for you in your writing, and it's good to have a variety. So don't think when I just need to pick my pony and pick one of the three and dusting that you could do all three and all three have strengths to them and challenges things that you have to be aware off when you are doing your work 5. Creating Consistent, but Conflicted Characters: Let's talk a moment about consistency and inconsistency, because this is actually a very important thing. When you've got a value conflict, your character is going to behave sometimes inconsistently throughout, because we're going to say, Well, there should chose academics there she chose family. How do you really feel? The truth is that as people were behaving inconsistently all of the time, there's a siren. It is human nature to do so. It's human nature to not always make the exact same value choice every time. That's what makes humanity in life interesting, because we're constantly navigating that. That's why they're all these things, sometimes little stressors in our lives because we have lots of things pulling at us for attention. There are so many things that we want. We're constantly having to negotiate, to figure out, to try to get to a comfortable situation with that certain value conflict. And there are numerous value conflicts going on at any time in our lives, so people behave inconsistently. That's part of what makes your character interesting, is that we're we're we're learning her. We're getting to know her as we're reading her, and so you want to write that inconsistency of action into your story, but you have to do it in a consistent way. The consistency is the value, conflict at stake. The consistency is that we see this the issue she's struggling with. We need that consistent core because otherwise you end up with the character that feels unreliable. And men, your audiences are going to aren't going to relate. We've probably all had situations in which we saw a film or re ready book and character does something in it that is so totally out of character that it's not believable to us. It pulls us out of this story, go to film, and you just say that made no sense when she did X y Z. I don't even know that was just totally out of character. How do you right character whose behavior is inconsistent in a way that doesn't make your audience go well, that was out of character. You do this by preparing your readers by having a consistent value conflict by demonstrating the emotions attached to it consistently in this class, we're going to sort of have a narrative that we're going to tease out in a variety of these examples So let's say for our purposes, our main character's name is Sam, and Sam is very driven. He loves his job, and he really wants to get ahead at it now. In the narrative, he also happens to be a newly single father. His ex wife recently suddenly passed away, and now he is the sole guardian of his son, Peter. He loves Peter, but he's adjusting to this idea of being being a father, being the caretaker primary caretaker of his son. And so he's adjusting to this. So this is the situation, then, when the two values that we're looking at our this drive to get ahead in his career and succeed. He's a young man and this love of his son and being there for his son. So that's what he's going to be dealing with. That's going to be his primary struggle, that he's trying to come to terms it throughout the story. And then you have to ask yourself, all right, Those are the two character values. Which one wins? That's what you'd ask yourself seen to see in this scene, which is the one that comes out on top will see examples of this and then how does he feel about that? That's a story that we're going to be looking at as we go through this class. 6. Conflict Over Several Scenes Making Each Scene Unique: so the first of these that we can look at and is the one that is most commonly used is having your value conflicts play out over a Siris of scenes. This is generally what happens in a novel. We have a lot of scenes in which we see a protagonist grappling with an issue. One of the tricks here is that you don't want to have a lot of scenes in which the same value wins out again and again. And again. If you do four scenes in which Sam is struggling with balancing fatherhood and his job and which should he choose, and four times in a row he chooses his job. You could do that. That's fine. That sends a message. But that again, that starts to answer this question for us. But that's his. That's his priority. If you're going to do something like that where you have him choosing his job, choosing that value over the family value numerous times in a row, you need some other nuance to justify the scene that you are writing. If you've watched my other videos, then you know I'm a firm believer that you have to fight you have to justify everything you put into a story. Everything. It's not justifiable. Don't just throw it in there because you think it sounds good because that can actually weaken this story more is not necessarily better. You have to really believe in what you're putting in your story. This means that if you're going to have to scenes in a row in which Sam is ends up choosing work over his son, If I can't discern something unique and different about those two scenes, then I don't know why I'm reading it again. You're just it becomes boring. It feels like deja vu. It slows the story down so you can have an instance in which may be in one scene. Sam chooses work over his son. Maybe his son needs to be picked up from school, and Sam decides he can wait. I I didn't get in touch with him. I know I said I'd be there, but he's He's going to just sit there. It's gonna be an hour. It's gonna be no big thing. It's gonna be half an hour. It will be fine. And then it ends up being an hour and then his son Peter is just beside himself, upset. He feels like his father's for Garden him. He is crying, and it results in him, sort of having this distrust of his father's Peter still learning to live with his father and that scene what Sam's take away. Sam's realizing what it is to be the primary caretaker now. He didn't appreciate his son's feelings, and he didn't appreciate the gravity he thought he did, but he didn't off what this new role means. Now say you're next scene. Sam also chooses his job over Peter. That may be in that scene. We see a recognition that he knows that this choice is going to have a bad ramification. Or maybe he thinks he's solved the problem. Maybe he says, OK, we're not going to play that game again. And so this time, when he chooses his job over Peter, he says to himself, Well, I've solved the situation because I hired this baby sitter. I know Peter wanted me to wanted to go with me to this, to the park. I really have to finish this brief. So but I hired a baby sitter, so he's going to still get to go to the park. It's just not with me, right? So he's chosen his job again. He thinks he's solved this problem of his son feeling like he's got a connection, but he doesn't. His son now feels like you didn't spend time with me. So in that way you can have more than one scene in which the protagonist chooses this one value over another multiple times. But each of those instances, Sam got new information, and in between those Sam tried to solve the problem that was made with the first scene. You're your characters, always going to try to fix the problem with the easiest thing they can do. It's not realistic for a protagonist who's faced with a brick wall, a tall brick wall that he has to go around. It's his big wall. You need to get around the wall. What's the first thing that your character is going to do? It's not going to be, um, okay, let me go walk and walk and walk and walk and walk. I can see this war goes on for a really long time. Let me walk until I get to may be the end of it. Whenever that is, and then I'll get around it. Probably not. The first thing is going to Dio. Probably the first thing is going to do is say, OK, I could dynamo on my way to this wall. I could walk till I don't know how long to get around so I could try somehow to get over it . And that third options, That's the seemingly easiest once, that's the one he's going to try first. So you characters are always gonna try the easiest thing. First. We all do. We do not want to make our lives one difficult on. We're going to try to solve the problems that we make so you can have your character do the same value set more than once. But make those changes throughout, However, you also want to really balance it you want. Sometimes if you two true value conflicts sometimes Sands going to choose Peter over his job eventually, right? He might at first just choose job job job, job, job several times. But then he might finally realize that he does care for Peter and start to balance that out and then maybe he won't choose job, job, job, job, job so quickly 7. Conflict Over Several Scenes: Values Ping Pong: So let's go back and let's think about this story with Sand and Peter. What we want to say is a storyteller is that Sam enjoys work and he enjoys being a father to his son, then say that's what we're trying to say. We're trying to say Sam sorting it out. He loves his son. He wants to be with this son. He likes both. He likes to do both. Now, as a story, we can show that we can share Sam having a good time at work and feeling good about his progress. We can show Sam spending time with his son and enjoying his son, but that isn't really interesting. If that's all that's happening. If he's at work and he's happy and he's with Peter and he's happy, then we say, Well, this is a balanced situation here, Nothing to see here. Go home. Nothing to see. So that's Complicate this. Let's put in some scenes where we show Sam missing each of those things. We've shown that he likes both. We've got scenes that have told our reader. Okay, he likes his son and he likes work. We have the scenes. We know that those two things are going to come into complex sometimes. So then what happens? Are we just going to show him happy at work, even though it's conflicting? No. We're going to show scenes in which he feels like he's missing out on Peter and scenes where he feels like he's missing out on work. But even that doesn't quite get at it, does it? It's not quite complex enough because it's not enough to say I like that and I like that. So I'm sorry when I can't do that and I miss what I can't do that that's a bit simple. Still, you really want to dig into the Why does he feel what he feels? What is really going on? How does he really feel about his job? Not just do I like this job? What's going on here is it just me likes his job is that he he wants to really get ahead. Why does he want to get ahead? Is because he just wants to? Or does he really need to see financial trouble or it hasn't worked his whole life of this announce right in front of him? What's riding on the job and We need to feel that loss as a reader. I don't feel like there's a serious loss. If he doesn't work a job, make the deal, then I don't. I don't feel the tension myself because I just go get a job and get a different job there. Lots of jobs you might like. It's fine. You need to set up for me. What? What do I stand to lose if I If if San doesn't keep going forward and focus on his job like he was before he had Peter, I'm not. Likewise. I need to feel What does he stand to lose if he doesn't take time with this son, is it going to lose his son? Has he as you've been trying to be a father before and couldn't get to, and that means something to him? Is he learning what that is? And he realizes he really doesn't want his son to dislike him or be distant from him. What, what's at stake? You need us to know that when you think about the emotions that you can have right that question, how does how does my protagonist be evil about this conflict? It's not just going to be stressed. Can't just say Well, it's conflict is stressed. No, you can't say that. What is he angry? Maybe Sometimes he's angry at his son. Inside, He's angry. You're taking this opportunity for me. Maybe. Sometimes he's angry at his co workers. It's my son. Maybe sometimes he's just sad at the situation. Maybe sometimes he's really happy, baby. Sometimes he doesn't know what he is. He's just totally confused. They're going to be lots of emotions. You want to sort of figure out what all of these could be. So let's let's take all of that and sort of put it into an example. I have my notes. I have my notes because I need my nose. So that's a There was a big opportunity. There was a really big meeting. It was a big deal. Pete Sound had been working for two working for two working for it and he ended up missing it. He ended up missing it because Peter wasn't feeling well and he had to go pick Peter up from school. There was no one else to do it and San had to walk out to the office before the meeting and go and pick up Peter and his way out the door, his co worker says. Stop, Smith says. You can't leave. This is just a stupid move. You can't leave. Just let your son wait. That someone picked him up. Give me a break. We've been working a really long time for this, and you're about to mess up this deal that we've been working on. This isn't just about you. This is about me, too, and it's about the company and you're messing it up. Give me a break and Sam gets angry, gets angry at his co worker. That's my son. That's my son. So we have this scene in which the value the conflict is right there in front of his coworkers, pressuring him to stay. His son is over there ill and asking for his father and and Sam, who might have been walking out the door feeling dismayed. Maybe we're describing him walking out the door, upset, sad that he has to leave, admitted that co worker says something. That's my son and we see that. And so there's a scene in which, in this case, who is winning out the sun? The sun is winning out. What's the emotion? How does he feel about it in that moment? Angry but not at his son. He's angry disco worker because of what his co worker did. So we see this in motion. So then next, sort of set in the sequence, right? The next sequence of this larger, larger seen is what goes to pick his son up because to pick his son up at school. And he's way to get the car at a stoplight on his way to picking up his son. And he's just annoyed. And the annoyance that Waas at his co worker is now on his son. Why did Peter have to get sick today any oven any of the day, But today he had to get sick. And is he really sick? Because Peter kind of does this sometimes. Peter says he doesn't feel well when he doesn't want to go to school, so I actually don't even know if he's genuinely sick. This could be Peter just being Peter, and I'm gonna get there and he's not sick. And does he even realize how much is meeting meant to me what this meeting meant for us? Because I'm The one was to put the bread on the table, and this is this is frustrating and he's not totally, totally mad, Peter. But it's festering. It's building. So now here again, we're faced with that conflict of values in this sequence. But now he's mad at Peter. Do you see how that make hopes? We could say, That's an inconsistency. That's my son. I want to be at work, right? But it's totally believable. It's completely human thing to do because consistent thing is this struggle with the values . So then we move on in the sequence. He's irritated and he gets his son home. His son actually is sick, and he makes his sun some soup, and it clearly means a lot to Peter Peters. If he's not actually better, cause he's still sick, he feels feels better emotionally. Peter feels better. Peter kind of nestles up next to Sam, and he's eating his soup, and it's this moment in which Sam really feels like a dad. He was like a father in a way that he hadn't before because this hadn't been his job before , and he suddenly knows the reward of being there for a child in that specific way. Nobody wasn't there. Form in other ways. This is a new way, and he feels that reward and that feel special. And that feels different. And he feels in that moment, like I made the right decision. I'm here with my son. I'm here with my son, right? And so now we're back to the sun winning out. But it's in a different way because the first time the sun want out, it was out of an obligation. He wasn't happy about it, but he was gonna go do it, and he was a combative emotion with his co worker. But fine, I'll go do it. But this moments different this moment is choosing his son. But feeling good inside about it. That's different. And then the phone rings and it's his boss on the other end of the phone is not too late. It's not too late. The clients flight was delayed, and if you leave right now, if you leave right now, you could get here and we could still have this meeting, and suddenly he's there caring for his son. But suddenly the opportunities back, maybe when he was feeling that emotion and settled into it with his son. He kind of made peace with the fact that it wasn't gonna be there, at least for the moment. But now the opportunities back and he's sitting there going, Maybe I Peter's gonna fall asleep. Go to bed. You want to know that I'm gone? I could slip out, I could slip out, go to meeting, come back. Peter won't know that. You don't even know that I'm gone. It's could be fine. It could be fine. And now the value conflicts back. And in that moment, we actually don't know what he's going to pick. But we see that. Do you see how in that moment we're kind, like, what's he gonna choose? What's it going to do? We wouldn't feel that. I don't know. I really I really don't know what Sam is going to do. We wouldn't have that tension as a reader as a viewer if you hadn't set up the sequence in such a way that you gave me these variety of conflict ing conflicting emotions. You see that plays out. So I've set this up in just some writing and bits of it not totally. What would be in sequence. But instead of how might that actually looking text? And, um, I've added in some some other things that you'll see. But I'm gonna pop text up here on the screen and we look at this. So this scene picks up where he would be getting Peter. He's just got Peter from school. Nice putting him in the car. Sam buckled Peter seat belt. How you feeling? He asked. Peter shook his head. I feel sick. I was stopped by the store and get some soup and go home. He felt the boys for it. Hot Pete begin to cry. My stomach hurts. His voice was high. And then you see how in that moment what we see is Sam being the father with the confirmation that he does not feeling well. He's He's focused on his son. He's focused on what's happening. And then you might have that scene where they go home and he's. He's giving Peter the soup and San held Peter and watched the boy sleep. He could see his lashes fluttering and noticed a small scar. His forehead. How have you gotten that? I shouldn't know. San thought the boy felt like a jewel when he must keep safe that others The world life was trying to mar and it was up to him to see that any cuts that were made became facets of beautiful stone, not scratches, stones, the meeting. If you hadn't missed it, it could made the sale. He could make the sale the biggest of his career. What am I doing? He said aloud. This was not how it was supposed to be. He had such a different plan for his life. So we see in this instance how it build over multiple scenes. 8. Conflict in One Scene: Let's look at it now and what it might look like if it's all happening, if not in one scene, in a very tight sequence. So in the case, we talked about what's happening over multiple scenes, somewhat more spread out. But what about when it's really all kind of happening in one in one go more or less so we're gonna look in a similar situation slightly different, but about the same deal. Only how would that look if it were kind of nestled into one scene? One of the real challenges with a scene like this where we're going to see more than one emotion just sort of right there in the same scene is not making your coward receive inconsistent, which means that you really want to set up the conflicting emotions in separate scenes. Beforehand is a way that it's often done so for our situation. We would probably have some scenes where he was enjoying being a father, some scenes where he enjoyed being at work, and then some scenes where he felt frustrated by be the conflict. People frustrated by missing out on work are missing out on his son. We want to kind of set that up before you do. It seemed like this was all happening in one, because then it's not so unexpected to us. The reason the following scene is going to work is because we understand as readers, when we reach it, what the value conflict is. We know how Sam somewhat feels about things, and it's going to work because it's conveyed in multiple ways. Doing it in the same scene would be akin to Sam going and picking up Peter from school because he feels ill. So in that since he's choosing his son right, and then he's driving in. The car was still in the same scene, and the phone rings. And when the phone rings, he answers the phone and it's his boss. The phone rang. Sam picked it up. Where are you? It was Fletcher. I had to pick up my son. He's sick. Look, I can make this happen. Just give me an hour. That's just said something. But Sam couldn't make it out. Over peaches growing whales. He muted the phone. Stop it now! He shouted toward the back. This deal means everything, and you're ruining it. It was a rare outburst and he had had the desired effect. Peter looks stunned and wiped his moist cheeks with the back of his hand, seeing that sex scene, and we changed the narrative from what I just described. But in that scene, what happens? The value conflicts there. Sam is still choosing his son, but we really see the anger of it. We see how much this means to him, and he turns and yells at his son in a way that has never done it before, Right? It says It was a rare outburst that tells us what how much this means. So then, say, gets off the phone with his boss. He doesn't end up going into the meeting because he just sees Peters just too ill and they go and they purchase some soup and they go home. But do you see how in that scene we're seeing the value conflicts play out? He's choosing fatherhood. He's picking up Peter, but then for a moment there for a moment there, he really reacts against it. He's really emotionally quite upset about it, and it wounds. Peter bruises him so in in they seen be the value that wins out while it is being a father . We see conflicting emotions in it in the in the single scene, rather than through across several scenes, as we just showed in one scene, he's tenderly picking up his boy from school and then turning around and shouting at him for messing up the deal. That scene works because we build to it, and it's very powerful because it is happening one right against the other. So we really feel those those emotions happening. It's a very strong way to demonstrate this value conflict. But you want to make sure that if you do that, you don't want to over use this one. Because if you have too many scenes where in one scene in such quick succession he's behaving differently about something, then he will start to seem inconsistent. 9. Value Conflict via Exposition: the third category is doing it through exposition, and this is just where you describe what's happening. You describe how they feel. You're conveying the values at stake and the emotions that go with them through narration, either through the headspace, off the protagonist, without necessarily seeing it played out in action or just from on authority, voice 1/3 person authority, all voice. You can do this in a variety of ways. We're going to look at this from great expectations, the great expectations if you've not read it. Pip is the main character, and Pip grew up poor, working at a forge with his brother in law, Joe. We loved very much, and he was sort of being an apprentice to Joe. The expectation was that he would grow up to be a probably rather poor blacksmith as well. That had always been his lot in life. But through a series of fortuitous events, Pit is now in London, in the big city with money that he never had, and he sort of made himself into what he feels is a gentleman. And Joe isn't quite that, and it becomes very conflicted because Joe visits him and pimps embarrassed by Joe, but at the same time, he feels bad that he's embarrassed by Joe. And so we have the sense in which he isn't quite happy with his new life in London. But he doesn't really want to go back to being at the forward, either. And so we're going to pick it up here. And Dickins writes, This isn't pits voice. As I had grown accustomed to my expectations, I had insensitively begun to notice their effect to pull myself and those around me their influence on my own character. I disguised from my recognition as much as possible. But I knew very well that it was not all good. I lived in a state of chronic uneasiness, respecting my behavior to Joe. When I woke up in the night, I used to think with a wariness on my spirits, that I should have been happier and better if I had never seen Miss Havisham space and had risen to manhood, content to be partners with Joe in the Honest Old Forge. Yet Estella, that's the girl he loves was so inseparable from all my relentless my restlessness and disquiet in mind that I really fell into confusion as to the limits of my own part in its production. It goes on to talk about how, even despite these feelings, they spent as much money as they could. They really lived it up. You see how that exposition it's Pips voice talking. And he's just talking us through his emotions, just telling us this what I felt and this is how it is now. I personally I like reading that. I think it works especially well in a first person perspective in which the narrative is talking to the reader. But you can also feel how it's a slower experience. Everything else that we've looked at up to this point has is action based, and it feels foster moving and it probably induct. Probably it does feel mawr emotionally powerful. So the exposition, I think, really does have a place. But when you choose to write that way, what you want to ask yourself is, Why is this piece one that benefits from my character? Explaining for himself for wide? Is the scene benefit from the narrator describing the conflict that the characters feeling rather than a seeing it play out? The exposition will not succeed well if we don't also have scenes in which the values come into conflict, so you still need the others. But four scenes in which there's exposition. Choose them wisely and think of them as breaths in the narrative. So if you have a scene see enough to see in action Action Action Action Action, right, When is a good time and it depends on your story to take a breath, and it doesn't always work. Depends on your narrative. Noel Narratives need exposition. It depends on if you've chosen that the authority voice you've chosen first person third personal mission, etcetera. That's going to that's going to dictate whether you do this or not, because you can't just break voice without it, effecting things, affecting things. But if you're going to do it and the narrative voice is set up for it, then where's the breath? Why is this a good scene for us to breathe and and just taken his thoughts? Find that breathing place it will not come until you've had a sufficient amount of action because it's a breath. It's a moment away from all of the action to just, I think, and let it be that But do you know that through exposition you are slowing story down? Don't just throw in a bunch of exposition at a really high, intense emotional steam where we've been waiting and waiting for this action. And here it is. Oh, that's told now that's not what she wants. Don't don't put a big old rain cloud on top of your actions. 10. Final Thoughts and Class Project: Let's recap some takeaways. Sorry, it's getting cloudy up here. Now. Um, I live in a partly cloudy climate, so make sure you clearly know the conflict ing values at stake. Make sure you know what they are. Actually know how your character feels about them. Make sure you set the groundwork and dramatizing these values and dramatizing this conflict throughout your narrative. Set that ground work. Make make clear decisions about when you're going to show something over a series of scenes . When are you going to show it in one scene, When ever you could showed an exposition. Those are active decisions that you make, and you should be able to justify why you did and then use a variety of the indicators dialogue action, it says for a thought to to convey all of those things. Give us variety. You don't want dry. We want variety. If you do all of those things, that's really going to help set you up for this really interesting value conflict that's happening with your character that your reader it's gonna be quite gripped by it's going really feel realistic, and there will be very, very invested in it. Let me talk briefly about short your assignment, your project. I keep calling them assignments because I rectal for so long, but the projects that skill share projects, you don't have to do it. But I do recommend if you do, because I think it's interesting and helpful. It's always helpful to actually do it. I have to say you can watch videos. Let's listen to lectures and read articles about how to do all of these things. So you blue in the face. You will not really solidify for yourself till you start to just do it. So the first part of the assignment I'm looking at it here is to just answer those three main questions that we have. I recommend that you choose a scene or several scenes and think about how you want them dramatize. You're gonna answer those three questions. You just going to what's at stake, what's gonna win and how does he feel then? Import to these, the the project you're going to think about? How do I want to dramatize this doing, which dramatizes one scene or over a series of scenes, or do we want to do it your exposition and then in the third part. What you think these decisions you are too right by the two separate scenes that demonstrate the emotional conflict of your character. One scene that does, or an expository paragraph. Choose those and then sort of write that out and see how it feels to you. They don't have to be long scenes that can be quite short. I actually get a great exercise to duel three to pick an idea. And after you've answered Parts one, then say all right, I'm gonna do it through expository one to do it through in one thing. I'm gonna do it over a series of three of 23 scenes and see how each plays out. You'll learn so much doing that. That's what I mean to say about that. I think it's a lot of information. Thank you for watching. If you enjoy this, would you please please leave a review? Because that helps me so much. And if you know people who are interested in this subject matter, would you please shadows video with them? Because that's incredibly helpful for me. And let's meet, continue to make content for you, let me know. In the comments below what she thought of it. Let me know if they're other courses. You're interested in a subject matter that helps me to. Because I'm really excited to be here and to teach these things. You can also find me in the social media links on my profile on my YouTube channel on I'm on instagram and I hope you will follow me there. And I hope you will have a wonderful day that this helps you tremendously. Thank you so much for watching by.