Why is the story inseparable from conflict?

Inscription: The law of conflict is not only an aesthetic principle, but also the soul of the story. This story is a metaphor for life, and life is in a seemingly eternal conflict. That is to say, as Jean-Paul Sartre expressed, the essence of reality is lack, a universal and eternal lack.

Nothing in this world is enough for people to enjoy. There is not enough food, love, justice and time.

As Heidegger said, time is the basic category of existence. We live in the shadow of its shrinking. If we want to achieve something in a short life, so that we don't regret wasting time when we die, then we will encounter those who lack the power to stop desire.

In short, life is meaningless and boring without tossing. Boredom is an inner conflict when we lose our desire and lack a sense of want.

This is the harvest of reading stories these two days. Why is the story inseparable from conflict? The above words can be completely summarized.

First, people's incentive events need conflict to advance.

Generally speaking, the story is a design consisting of five parts: incentive events, progress entanglements, crisis, climax and ending.

Characters should live with a goal, and this goal is to stimulate events. "Incentive events make the hero embark on a path of seeking, to pursue conscious or unconscious objects of desire, in order to restore the balance of life. When he began to pursue his desires, he took a minimal conservative action to stimulate a positive response from his reality. However, the result of his behavior has inspired various opposing forces from the level of inner, personal or social conflicts, blocked his desires, and dug a gap between expectations and results. "

That is what we usually call the conflict between ideal and reality. This kind of conflict requires the hero to "stand up again and adapt to his changed situation, and take an action that requires stronger willpower and personal ability, expecting or at least hoping to get a beneficial or controllable response from his world." However, the stronger opposition forces responded to their actions, and the gap was once again vented in the sinkhole. The smallest effort will not help. It is impossible for a character to restore the balance of life through some small moves.

Even the most extreme actions still can't make the characters get what they want. Only by discovering the characters' growing ability, requiring them to show stronger willpower, pushing them to more and more risks, and letting them constantly cross the point of no return defined according to the strength or nature of the action, can the author construct a step-by-step story development process.

Second, conflict is the power to attract the audience and the necessary music.

The music of this story is conflict. As long as conflicts occupy our thoughts and emotions, we will not realize the distance we have traveled in time travel. Then, the movie suddenly ended. We looked at our watches and were surprised. However, when the conflict disappears, we will have the same reaction.

The visual effect brought by photographic images or the auditory enjoyment given by beautiful music may please us for a while, but if the conflict pauses for too long, our eyes will leave the screen. Moreover, once the eyes leave the screen, thoughts and emotions will go with them.

Those writers who can't understand the true meaning of our short life, those who are misled by the false prosperity of the modern world, and those who think that life will be easy as long as they master the rules of the game will undoubtedly project a distorted illusion to the conflict. Their plays are doomed to fail for two reasons: either they are full of meaningless absurd violent conflicts; Either there is a lack of meaningful and truthfully presented conflicts.

Third, conflicts continue to develop and promote disputes.

Entanglement refers to creating suffering for the characters' lives. Progress entanglement refers to more and more conflicts when characters face more and more powerful confrontation forces, thus creating a series of events that happen one after another and passing through the point where they can't return.

Entanglement: conflict that only occurs at one level.

Inner conflict-stream of consciousness? Personal conflict-soap opera personal conflict-action, adventure, farce.

In order to achieve complexity, the author introduces characters into all three levels of conflict, and often at the same time. For example, there is a seemingly simple but complicated scene in kramer vs. kramer, which is the most memorable movie event in the past two decades: this is a French toast scene. This famous scene turns to the complex level of three values: self-confidence, children's trust and admiration for their fathers, and family survival. When the scene starts, all three values carry a positive load.

At the beginning of the film, Kramer finds that his wife has left him and his son. He is suffering from inner conflicts, which on the one hand show doubts and fears about his helplessness, and on the other hand show the arrogance of men, who think that everything a woman does is easy. However, at the beginning of the scene, he was full of confidence.

Kramer has a personal problem. His son is hysterical and afraid that he will starve to death without his mother to cook for him. Kramer tried to calm his son down and told him not to worry. Mom will come back, but we will have a good time before mom comes back, just like camping outside. The child dried his tears and believed his father's promise.

Finally, Kramer has a personal problem. The kitchen is like a strange world to him, but he walked into the kitchen as a French chef. He put his son on the stool and asked him what he wanted for breakfast. The child said, "French toast. Kramer breathed a sigh of relief, took out a large frying pan, poured oil on it, put the pan on the stove, turned the flame to the maximum, and went back to find materials. He knew that he needed eggs to bake bread, so he opened the refrigerator to find some, but he didn't know what container to use to beat eggs. He rummaged through the cupboard and finally took out a coffee cup with the words "Teddy Bear" written on it.

The son saw the handwriting on the wall and warned Kramer that he saw his mother break eggs. She didn't use a cup. Kramer told his son that cups can also be used. He broke the egg, but he was able to put it in the cup, but many eggs spilled out, and the oil in the sticky .................................................................................................................................................. pot began to explode. Kramer was a little panicked. He never wanted to pass the gas, but began to race against time. He knocked some eggs into the cup, rushed to the refrigerator, took out a bucket of milk and poured it into the cup. The result overflowed a lot. He found a butter knife and used it to stir the egg mixture so that more things spilled on the table. My son has seen that he can't eat breakfast today, and he is crying even more. The oil in the pot is starting to smoke now.

Granma was desperate and angry, unable to control her fears. She grabbed a piece of "wonderful" brand bread and looked at it in a daze, realizing that it could not fit into a cup at all. He folded the bread in half and forced it in. What came out was a ball of wet hands, bread, egg yolk and milk, which he hurriedly threw into the oil pan. As a result, the oil star splashed himself and his son and burned them. He quickly took the oil pan off the stove and burned his hand. He grabbed the child by the arm, pushed him out of the door and said, "Let's go to the restaurant."

Kramer's male arrogance was overwhelmed by his fear, and his self-confidence changed from positive to negative. He made a fool of himself in front of the frightened children, and his son's trust and worship turned from positive to negative. He was defeated by a kitchen that seemed to have a sense of life. Just as the kitchen stretched out its fist, eggs, butter, bread, milk and oil pans came to him one after another, making family life turn from positive to negative. There is almost no dialogue in this scene, just a simple action of a man trying to make breakfast for his son, but it has become one of the most memorable scenes in the history of movies-a three-minute drama in which a man conflicts with the complexity of all levels of life at the same time.

Unless you want to create action movies, soap operas or stream-of-consciousness essays, my advice to most writers is to design relatively simple and complicated stories. "Relatively simple" does not mean simplification. It refers to the turning point limited to the following two principles: beauty, telling wonderful stories: don't breed people, don't breed scenic spots. Instead of playing hopscotch in time, space and characters, we should restrain ourselves from setting up a reasonable and limited character lineup and world and concentrate on creating a rich and complicated story.

Because of the classic explanation of this conflict, I watched the movie Kramer vs Kramer and put it into my ever-changing series. 1979 The film released in February is older than me, and its vitality is so lasting. There is a reason for this. Writers should study the artistic laws of language and stories to give readers the best aesthetic experience.