A Quote by Terry Brooks
The more complex and overwhelming the threat to a protagonist, the better the opportunity for the author to create a compelling conflict and a dramatic resolution.
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Every novel deals with social problems. It can't help it because the protagonist must come in conflict with his group. So the author has to offer an analysis of how the group and the protagonist fit. Otherwise, the reader will just say, "This makes no sense," and will put it away.
What's interesting to me is drama and conflict. Things aren't interesting without conflict and resolution of conflict - or striving towards a resolutions of conflict.
Looked at objectively, it is clear that the overwhelming majority of civilian deaths resulting from political violence are produced by what should be understood as "state terror." Terrorism also serves as an excuse to avoid diplomacy and the peaceful resolution of conflict.
As human beings, not only do we seek resolution, but we also feel that we deserve resolution. However, not only do we not deserve resolution, we suffer from resolution. We don't deserve resolution; we deserve something better than that. We deserve our birthright, which is the middle way, an open state of mind that can relax with paradox and ambiguity.
The greatest rules of dramatic writing are conflict, conflict, conflict.
At dramatic rehearsals, the only author that's better than an absent one is a dead one.
Mr. Rogers would not make a good protagonist of a narrative film. He's without conflict, he's too far along on his journey toward enlightenment to be a good protagonist. Our protagonists have to be struggling with demons in a certain way.
There's just no more compelling a story, no more compelling an issue, no more compelling a locus of human suffering than Sudan.
Quite often my narrator or protagonist may be a man, but I'm not sure he's the more interesting character, or if the more complex character isn't the woman.
Like most Americans, I hope and wish is that there is a peaceful resolution to the Middle East conflict. Unfortunately, there are extremists on both sides who oppose a peaceful resolution and instead choose violence.
The narrative image has more dimensions than the painted image - literature is more complex than painting. Initially, this complexity represents a disadvantage, because the reader has to concentrate much more than when they're looking at a canvas. It gives the author, on the other hand, the opportunity to feel like a creator: they can offer their readers a world in which there's room for everyone, as every reader has their own reading and vision.
Nagasaki and Hiroshima remind us to put peace first every day; to work on conflict prevention and resolution, reconciliation, and dialogue; and to tackle the roots of conflict and violence.
More than anything I am a novelist. But for me, an author's job is not only to create linguistically accomplished works. As an author I also want to stimulate discussion.
A good story needs conflict, and virtual reality is a great hypothetical way to create conflict. ... In some ways, the future is going to be more boring than we think.
There's something extremely rewarding about following characters that you like and knowing that there's as many hours of viewing as you have the appetite for. You can tell more complex stories; you can create more complex characters in the longer form.
Afghans long ago resigned themselves to this sort of thing. Compromises must be made. Deals with the devil are better than ceaseless butchery. In the exigencies of post-conflict bygones, against the threat of collapse into more terrible bloodletting, the ugliness of realpolitik is the lesser evil.
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