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Conflict... ″I love you!″ ″I love you more!″ ″Unh unh! I love YOU more!″ ″No way! I love you more than ANYTHING in this world! I love you to infinity!″ ″M′kay! You win! Kiss me!″ Mwah mwah mwah mwah...blechhh! Hehehe! Honestly, how long can a story like this go on before folks get the point and grow weary of the content? There are only so many ways to say ′I love you′. Only so many ways to hang out and have a good time. Only so many holes to fill in a sexual encounter. Hehehe! It may seem sweet from chapter to chapter to see your protagonist and his special love interest get all warm and cozy, whispering sweet nothings into one another′s ear every time they get together...but even for a HUGE romantic like myself, I can honestly say that it doesn't take long before that schtick gets old. Maybe not right away, but over time...you might need something more than just a lovey-dovey situation where one hot guy compliments another hot guy on how hot they are and they go off somewhere to have sex while the readers watch. You HAVE to change things up sometimes. It′s just one of the rules in the game when it comes to keeping people interested in your characters and the story that you′re trying to tell. There are plenty of emails in my inbox right now, begging..."PLEASE don't let anything bad happen to these two! EVER! Keep it happy! I can't handle any drama in this story!" And...well...sorry. Like...how would that be any fun to read? I don't get it. There's got to be SOME sort of conflict on the horizon to keep people coming back for the next chapter. I mean...right? You wouldn't want to read the same marshmallow sweetness for ten chapters in a row. What would be the point? I'm not trying to anger or depress anybody...but a life without any struggle just isn't realistic in my opinion. Let them have a few snags in their fairy tale ever now and then. What's wrong with that? Come on! It'll be fun! I promise! Hehehe! Not every story has to be an overly dramatic soap opera. Everything doesn′t have to have moments of shock and awe and plot twists that drops your reader′s jaw by the end of the chapter. But...people in real life are different. We have different tastes, different views on life, different beliefs, different interests. And even if all of those things were, somehow, made out to be compatible...we still have mood swings. We have good and bad days. We deal with problems and misfortunes. It′s realistic. Why not make that a part of your story? Not to exploit your characters for the sake of drama...but to enhance those moments and create momentum by showing your readers how they deal with those differences. Who would your characters be if they were under the pressure of a highly emotional situation? Who would they be if confronted and forced to defend themselves in a physical fight or an argument? How would they react to some serious temptation? How would they react to the loss of a loved one or a best friend? Conflict in a story not only spices up your story, but it fills in the little corners of your characters′ personalities in ways that wouldn′t be evident in an ′oh so perfect′ storyline where all they do is kiss and giggle all day long. SO...today, let′s talk about the concept of ′conflict′! And how to effectively use it to up the ante on your writing in a way that will keep people coming back for more. The first rule of conflict is...don't put too much emphasis on the rules of conflict. Hehehe! I know that sounds backward, considering the theme of this article, but it's true. Conflict doesn't always have to be a Batman/Joker kind of confrontation. Never feel like you have to go over the top with the friction you create between your main characters. It's not always necessary. Conflict is simply a difference of opinion. It can be as big as someone cheating on their boyfriend with their older brother...or it can be as simple as one boy is out of the closet as being gay, and the other one isn't. Maybe the 'conflict' takes the form of a long distance relationship. Maybe the love interest has had bad experiences with sex and affection and doesn't want to jump back into that arena without some sort of a guarantee that they won't be hurt again. Whatever their differences are...use them in your story. There doesn't always have to be a 'black and white' kind of fight when it comes to conflict. Your characters don't have to be mortal enemies. In fact, they may not be enemies at all. They simply have an issue, an obstacle, or a belief, that creates a disconnect between them. The conflict is created by how much you focus on that disconnect and the level of intensity you want to apply to it. I've found that mild conflicts are a bit less dramatic, but a lot more realistic. It takes practice to find a balance that you're comfortable with as a writer. Anyone reading my earlier stories can see how major events sort of take place in almost every chapter. It's almost like watching reality TV shows, where something spicy has to happen in order to keep the ratings up. But once I began to relax a bit more and find my stride, I allowed those dramatic events to spread themselves out a bit more. I felt more comfortable being subtle by introducing a conflict between characters and playing with the intensity a little bit at a time...until it's time for the main event, and then I can crank it all the way up and create moments of true hostility that readers saw coming and were just waiting for the other shoe to drop. The audience already knows where the disconnect is, and they know why it's there, but as the warm water heats up, the anticipation for this inevitable showdown between the two can come off as a lot more rewarding. I also believe that conflict works best when your readers can see the logic in both sides of the argument. That's an important part of the audience getting involved in the story. They're forced to ask themselves, "Well, if it were me...what would I do?" It's a lot fun to create a character that's just a pure evil antagonist to your perfect and well-meaning main character. It's entertaining to have a villain that people just love to hate. But, as the saying goes, every villain is the hero of their own story. I've known some people who are just...assholes. Let's be real. Those people exist. But I've also found that they aren't doing it just to be evil. There's a reason for it. There's an issue there, a thought process behind their actions, or some form of damage. And sometimes people are just il and water when they're in the same room together. So even when I have characters who pose a direct threat to my protagonist, I like to attempt to shine a light on who they are and what their motivations may be. Let your readers get a glimpse as to why they're doing the things they do, and maybe give your protagonist a few flawed moments when they're at fault as well. Maybe they'ree being paranoid, or jealous, or unfair, or just mean for the sake of being mean. Juggle back and forth between one flawed individual and the other so the conflict carries some nuance and complexity to their relationship. Nobody's perfect, but every unlikable character isn't a heartless psychopath either. Play around with that. Hehehe, Lord knows I have! And sometimes, the readers end up liking my villain even more than my protagonist! So...be careful. Sometimes it backfires! Anyway, that's my weekly babbling on conflict. Look at the characters in your story, and see if you can recognize the struggle in each of them. Conflict isn't just about right and wrong. Sometimes it's just about being 'different'. As always, I hope this helps! Have fun writing! And I'll see ya next weekend!
Not long ago, I wrote a short article on the concept of ″Show, Don′t Tell″, and made sure to add that both sides of the equation are needed to tell a good story. When it comes to exposition, it is the skillful use of both show and tell in unison that can give your story a smooth and natural feel, while still giving the audience the tools it needs to fully understand what′s going on. Finding a way to finesse both sides takes a little practice, but once you nail it down, it will pretty much become automatic in your writing process. So that′s the topic for today! Let′s talk ′exposition′! Exposition is basically a way to fill your readers in on everything that′s going on with your story. Details like time, location, character details, what period the story takes place in, and more. Who are these characters? Where did they come from? What is their background? It′s fuel for the imagination, and it gets the writers and their readers on the same page as far as kicking things off and keeping them going from beginning to end. This is especially important if writing something from the supernatural or science fiction/fantasy genre, or in a story that takes place during some sort of past era or during a historical event. The world building aspect makes exposition super important so your readers can grab onto the rules of society and boundaries put in place for what they′re about to read. Now, exposition is a bit more ′tell′ than ′show′, but I′ve always thought that it was important to figure out how to find a decent balance between the two, regardless. Doing it out of balance can slow the entire flow of your story, and that′s not good. There are two ways of delivering exposition...narration (Or simply what you write about the characters and their situation) and dialogue (What the characters say out loud to one another). Without balance...giving an entire ′info dump′ of narration all at once can seem a little complicated and boring. While having a character deliver 100 years worth of backstory in one long winded speech can seem weird and unnecessary. It would be like randomly asking a stranger on the bus how they′re doing and having them tell you their life story without so much as taking a break to realize that you only wanted to hear, ″Fine. How are you?″ as a response. We want to give readers details, but we don′t want it to be a stumbling block in the story itself. Not easy, but possible. One thing that I′ve learned over time is that exposition goes a lot smoother when it′s spread out over time. Not only does it keep your audience from getting bored, but it actually makes future chapters more engaging as your audience finds out a little bit more information as they keep reading. Things get a little deeper, layers are added, characters become more developed. It builds momentum in your storytelling. Much better than explaining everything all at once in the first ten pages of your story and having everyone try to remember it all for later use. Many readers look at exposition and treat a lot of the info as, ″Is this going to be on the test?″ So trying to cram a ton of details into their brain all at once can be a bit of an overwhelming experience. Trim it down. Think about what′s most important for them to know right away, tell them what they need to know to get started, and then add more details along the way. I′ve always found that it works out better that way in terms of reader involvement. So, how do we choose between ′showing′ and ′telling′ when it comes to delivering the important information? And how do we trim it down in an efficient manner? When I first started writing stories on Nifty, I used to always make sure that I mentioned the fact that my main character was gay. I was still brand new to writing gay fiction, and I always felt it was necessary to make that distinction so my readers wouldn′t suddenly be caught off guard. That...was totally unnecessary. Hehehe! I was writing gay fiction on a gay website for gay readers. There was hardly any ′surprise′ involved when it came to the fact that my main character was a homosexual. So I don′t feel the need to add that detail anymore. That can be ′shown′ to anyone reading, simply by stating the fact that this is a boy who finds another boy attractive. The fact that he′s gay is demonstrated through his feelings and his actions, and the audience will immediately come to the conclusion of, ″Oh, so he′s gay. Got it. Moving on.″ Done. The information has been delivered, and I didn′t have to muddy up the waters by explaining to my readers what′s going on. They got the memo, now let′s keep going. You can ′tell′ your readers what they need to know without actually ′telling′ them at all. Use your prose to set up situations that will deliver the message you want them to receive. Like...you could begin a story like this: ′It was a particularly cold Winter night. I was huddled in a tent with three other soldiers, dreading the next battle against the Confederates that was sure to come just before dawn. I think about my dearest sister Eliza, back home...and I pray that her and the baby are alright.′ Now...in those first few sentences, you can cover a lot of ground in setting the stage for your audience. What has this small section suggested to us as readers? We know that it′s Winter time. We know that our main character is a soldier during a time of war. We know what side he′s fighting for and what side he′s fighting against. We know that he′s frightened and worried about going into battle. We know that a battle is quickly approaching. We know that has a sister, named Eliza, and that she has a baby back home, and he loves them both dearly. There we go. ALL of that information was given to your readers in the first three sentences of your story, and your audience is immediately engaged in what′s going on, and intrigued by what might happen next. You don′t have to explain the entire history of the Civil War, or talk about the horrors of combat, or mention that the soldier is straight or gay or anything like that. The audience has the foundation set for the story you′re trying to tell, and that′s all they need for right now. Later on, maybe you write a scene where the soldier wakes up the next morning, and while feeding on breakfast rations, your main character looks over and sees another soldier that he thinks is beautiful beyond words. (″Oh, so the main character is gay″) You can use that moment to mention that he′s been camping out with them for the past three months, you can give his infatuation a name and a description, you might hint at a few friendly moments between them that gives your audience a hint of their relationship...and then jump right back to the main plot of the story. Just give bits and pieces of information at a time when it′s useful, and keep your momentum going forward. Don′t stop for an info dump of details that aren′t directly relevant to that particular scene. The same goes for all stories. At the very beginning of ″Jesse-101″, I started off with a bit of narrative exposition to detail an event that led up to the exact point where the story begins. Something that I felt was necessary to set the stage. But after those first few paragraphs, the main character, Tristan, is simply talking to his best friend, Lori, in his bedroom. While the opening scene is mostly dialogue, I tried to use their back and forth conversation to deliver the exposition needed for the audience to get a clear picture of what was going on and dive right in with no further explanation. Just from their banter, you learn that Tristan is in high school, he′s only out to his best friends and no one else, that he and Lori share a history of friendship together, that Tristan sees himself as being a bit ′sissy-ish′ and doesn′t have much in common with other boys his age, that he′s dealing with a recent rejection...that one conversation delivers a TON of needed information to the readers about the story, but without just having me write the details down in a narrative with no human interaction or emotional involvement. The bonus to giving exposition through dialogue is that you not only get important details and story plot points out there, but you get a sense of your characters′ personalities as well. You kill two birds with one stone, and you flawlessly move from ′tell′ to ′show′ without your audience even being aware of it. See? It′s all magic! Hehehe! So...all in all, exposition is a part of writing a good story. It′s necessary. I know that there are critics who will pick it apart and try to make the ′E′ word something awful and lazy and worthy of dismissal, but it′s not. It is a necessary function when it comes to telling an effective tale and bringing people into the world that you′ve created. Don′t be afraid to give your readers a map to navigate through the situations that you′ve got planned for them, but don′t be afraid to have faith in their intelligence either. The actions and dialogue of your characters will infer and display the story details your readers need to know for them to understand what′s happening without you telling them directly. They′ll get it. ″Oh, this person is taking an insulin shot every morning before breakfast. He must be diabetic.″ Or, ″The main character is being woken up by his mom opening the shades and telling him to come down for breakfast. He must be a teenager.″ Or, ″This guy is wearing a skin-tight costume, and he′s perched on a rooftop looking down at the dark city landscape for criminals doing wrong. He must be some sort of hero or vigilante.″ Whatever. ′Tell′ in some parts. ′Show′ in other parts. And train yourself to know the difference, and what will be most effective in any given situation. Ok, I′ve babbled on for long enough! Stop reading this and get back to writing! The world needs more of your genius! Hmmm...I wonder if this whole article counts as exposition. Food for thought, I guess. Best of luck! And I hope this helps!
Hello Everyone! I Love this site and the community that you have formed! I'm the editor of a gender queer E'zine, and have spoken with Myr, and the others that run this site for you. They have agreed to allow me to post this call for submissions here as an opportunity for those of you that write non-fiction. Our E'zine is part of a larger community site who's mission is to provide world-class education, and a place of safety for ALL those who do not fit into gender stereotypes. We are doing this as a service to our community. We too believe in developing and promoting gay writers. All authors who's writing is chosen for publication on our site will be encouraged to include active links to their work here. Submission details are below. Spectrum is a magazine dedicated to providing a place for gender queer individuals to speak out about information and issues that affect us all. The gender queer spectrum includes those who identify as Trans, Bi-gendered, Femme, Butch, boi, Androgynous, Agendered, and many other gender terms that are not well known yet. This is a place dedicated to honoring the full expression of gender that humanity is capable of. As a publication of ideas and perspectives, we offer a forum through which gender queer writers, scholars, and readers can use the internet to deeply explore themes of interest to our rich blend of identities. We trace our roots to our gender queer pioneers at places like Stonewall that existed all over the world. We welcome and encourage today's emerging queers as they discover their own gender identity and expression. Spectrum looks to spark discussion that is informed, and current while providing a much needed link to the history of the gender queer movement. Submissions We accept submissions of news, reviews, opinion, commentary, and nonfiction that has a gender queer subject/slant/impact and pertains to the following categories; ** News & Politics, Love & Sex, Media & Arts, Hero's & History, Gender Theory, Non-Traditional Families, Global Events. **Feel free to contact us before writing to gauge the usefulness of your story idea, but note that any and all manuscripts are submitted on speculation. We print the best and most appropriate material to meet the needs and expectations of our readers at the time. Your submission may not be accepted if we may have similar stories already, a backlog of features, or have already covered the topic in a recent issue. Don't be discouraged; your piece might be perfect for a future issue. We will keep it in our archives for just such a purpose. We are happy to work with new writers who are queer or have insights of interest to our readers. All individuals who's work is accepted will have a unique author profile which will include a bio and publication history. Word Count Due to the wide ranging subject matter we do not have a maximum word count. We are looking for concise event and review material as well as feature length articles. Minimum word count for reviews is 450. How To Submit Send submissions to Tribequeer@gmail.com: – Attach the story in RTF or DOC formats. – In the subject line put the SUBMISSION (in all caps), your name and word count. – In then body of the email, put your name, pen-name (if any), contact information, a short bio, two to three lines, as well as any credits or relevant websites you wish to plug. – The story should be double-spaced, in a readable font, and as you originally formatted it; paragraphs indented, italicized words in italics, etc. It is helpful to our editors if you follow standard manuscript guidelines (Though no story will be rejected for failure to follow them to the letter). Response Time Spectrum will respond to your submission as soon as possible; our policy is to have a response to all submissions within 1 month. Editorial Caveat Stories should be thoroughly proofread before submission. We do understand that minor mistakes will slip by and we will correct them before publication on the website. Minor grammatical changes may be made to the story; however, we will seek the author’s permission before publication. Publishing Rights We do not ask for first North American publishing rights to your work; whatever you send us can be submitted again to another publication. If you do send us a piece that has already been published or exhibited elsewhere, please include the name of the venue and the date of your publication/exhibit so that we can post the appropriate credits. However, we do ask that you not send us any simultaneous submissions.