Conflict. Conflict. Conflict.

Conflict, conflict, conflict builds tension. 

We've heard the tension-refrain at conferences, in workshops and in books. We know we must have tension. Tension on every page.

So, we wrote stories filled with murders, thefts, lost hope, arguments, sword fights, gun battles, chase scenes. 

You name it, we threw all kinds of conflict into our stories, and we polished up those pages. 

We sent out packages to agents and editors and indi-publishers. 

We sat back and waited for the bang on the door, the contracts, the advances, the New York Times Best Sellers list.

And we got, thank you for your submission, but I just didn’t feel this story enough. Didn’t feel there was enough conflict.

What?

How can that happen?  With murders, and arguments, and gun fights, we have conflict. 

Don’t we?

Not necessarily.

Welcome to the  Killing It With Conflict

In two weeks we’ll tackle:

• Understanding what conflict is and isn’t
• Delving into the foundations of conflict
• Implementing tips for structuring conflict for maximum impact
• Using and expanding conflict in all Acts
• Creating conflict in dialogue, setting, and scenes
• Weaving tips and tricks and tools for conflict throughout story

Full of practical tips and interactive lectures, students will have plenty of opportunities to practice theory by submitting work, and getting feedback from fellow writers and me.

So come on and let’s get our conflict on.

Teacher

Rhay Christou loves her dogs—Fredo and MoJoe—her teaching and writing. Making her home in a small village in Cyprus, when she is not wandering the National Park's trails, she uses her MFA in writing from Vermont College to share her knowledge and experience to cheerlead writers in creating their best stories. Since graduating, she has taught everything from creative writing to academic writing at the university level and writing workshops on the lovely island of Cyprus, in Greece and the USA.

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