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Tom Wilde: Okay. Hello, everybody. Hello, and welcome. Great to have you with us. My name is Tom Wild from prowriting aid.

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Tom Wilde: and I'm really delighted. You can join us today wherever you're joining from. Many of you will have been part of these sessions before, if that's the case. Lisha, you're 1st with a hello from Idaho. That's great, you know. You know the drill. Please tell us where you're where you're calling in from in chat helps us make sure that everything's working. Okay, it just gives everyone a couple of minutes to to drop in and join, too. Hi, Tara! From Belgium

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Tom Wilde: sherry from. Well, it's it's moving so quickly now. Sorry, Sherry. I completely lost.

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Eilidh Locherty: There! You!

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Tom Wilde: To Mr. Lewis.

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Tom Wilde: Bray from Calgary door, from Brooklyn, Hi, Patrick from Sicily. Wow! I bet it's hot there right now.

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Tom Wilde: More from Arizona, Kentucky, New Jersey, the Netherlands. Hi, Arthur! Just across the Channel from me.

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Tom Wilde: Hi! Christian is from Latvia.

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Tom Wilde: Great. I love this part. I mean. I love the whole part to be honest. But where we see how far and wide people are joining. Hi, Elizabeth, from York, you can probably tell from my accent. I'm also in the Uk. As is our guest tonight. He'll come on to introduce a little while. Yuri, from New Zealand. Great to have you with us.

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Tom Wilde: Hello! One welcome, all really delighted to have you with us for well, it's I think it's our last session of the 1st day of Science Fiction writers week and

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Tom Wilde: I hope you've had a great day so far. We've got so many great sessions for you throughout the week. As you can see on the screen right now. We're just gonna walk through a few housekeeping bits and pieces before we get started. Many of you will be very familiar with those. But just give me a minute to help anybody who's here for the 1st time.

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Tom Wilde: just to understand how we run these sessions, how you can access everything you need to. So let's have a look at that. So let's start off by looking at replays. So for your replays from Monday to Thursday sessions. They're available to everyone in the Hub. Once they're processed by Zoom, it should be relatively quickly. They will be available there.

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Tom Wilde: They'll also be posted on the community page, and every member will be able to see them from around September the 20.th So if you miss anything, if you have to dip out. Don't worry. All the replays with will be there, and I think Eddie's also sharing his slides as well, so should be able to access those okay

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Tom Wilde: premium day. If if you want to join us for Friday, that's our premium day for premium and premium pro members. If you're a premium premium pro user. You will receive an email with the details for Friday and the instructions for accessing the sessions.

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Tom Wilde: If you're interested in upgrading and joining us for premium day. Please do. We're gonna we've got a little offer for you. It's 15% off yearly pro writing a premium or premium pro subscriptions, and you'll be able to upgrade as long as you do that by Friday morning you can join us for the Premium Day sessions on Friday.

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Tom Wilde: and there are the details for the special offer. So 15% off. And what does that get you? Okay? So that allows you to unlock premium tools for for authors and give you access to entire chapter analysis. Better curate your editing experience, and there's your code as well. So Sfww. Signing for Science Fiction writers. Week

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Tom Wilde: 2024 sfw. Www. 2024. Use that code on the pricing page per writing aid. You'll see a box for a promo code. I think it's the promo code box. You put it in there, and that'll give you 15% off.

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Tom Wilde: Okay? And if you want to keep talking about Science Fiction. Come along and join our community. If you're not already a member, you can keep talking to all your Science Fiction writing fans. Keep up to date with all of our events. There's the link. I'll post a few of these links actually in chat as we go along today. So I'll do some in a minute, and I'll add some later on as well. So you can access the hub, the community page, and everything else you need to.

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Tom Wilde: And I think we're nearly there just a couple of reminders for these sessions or this particular session. And again, many of you will be familiar with this.

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Tom Wilde: if you. There are a lot of us here today, and that's fantastic. If you have a question for Ailey, please use the QA. The question and answer, tab on your screen that way. I know Ailey's got a dedicated part for in her presentation in her workshop today for Q. And a. But that way we won't miss your question. There will be lots of discussion, I hope, going on in chat at the same time throughout the presentation. So if you post your question in chat, there is a chance

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Tom Wilde: that it will be lost. So yeah. And with links like, I said.

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Tom Wilde: Oh, there we go. Links are on the hub. I'm just gonna post a link to the hub. Now.

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Tom Wilde: there we go. You should have that in chat, and that's it. We're ready to go. So let me just stop sharing. I'm going to introduce you to today's guests, and then I'm going to hand over, and I'm going to sit quietly in the background and listen and watch intently. So

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Tom Wilde: I'm absolutely delighted today to be joined by Ailey Lockerty. In fact, I'm doubly delighted because Ailey is one of our editor partners at prowriting Ace. She joined our partner network as one of the well. Actually she was one of the reasons we. We founded it in the 1st place, and we work quite a lot with Ailey throughout the course this year, and it's been delightful, let me tell you a little bit about Ailey. So Alie is a certified line and copy editor and founder of Chapter Divine Studio.

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Tom Wilde: specializing in Science fiction, fantasy, romance. She's passionate about helping indie authors bring out the best in their manuscripts.

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Tom Wilde: ensuring their unique voices, shine through with a specific interest in bringing out underrepresented voices due to being disabled herself

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Tom Wilde: when not working alien joys, getting lost in a good book, that we all dreaming up new ideas or savoring her signature. Peach iced tea. And that's a new fact I found out today. And I'm

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Tom Wilde: that's good to try some. Okay. So today, Amy is going to be taking us through her workshop on conflict that hits hard tension, that leaves a mark. She's going to dive or delve into the madness that is showing tension and conflict effectively with techniques intended to elevate your storytelling, make your making your words not only effective, but also unforgettable.

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Tom Wilde: So there we have it, Ailey

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Tom Wilde: great to have you with us, really, really pleased and delighted you could join us for this session. I'm going to hand over to you. I'm going to turn my camera off and just sit in the background.

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Eilidh Locherty: Before I do that. There was a question in here about when the networking sessions are.

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Tom Wilde: Oh, okay. Well, I tell you what, let's go.

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Tom Wilde: I will get an answer on that, and I'll come back to you. So thanks for that question. I'll put that in chat as we go along.

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Eilidh Locherty: Wonderful. Now I need to figure out how to share my screen.

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Eilidh Locherty: Oh.

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Tom Wilde: Have a share screen button and should be the 3rd tab along on the bottom of your screen.

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Tom Wilde: unless I haven't.

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Eilidh Locherty: Yes.

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Tom Wilde: Yeah, you should.

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Tom Wilde: Do. You see?

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Eilidh Locherty: Send me the photo of what I need here so

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Eilidh Locherty: entire screen.

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Eilidh Locherty: Sometimes it's under more.

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Eilidh Locherty: Thank you.

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Tom Wilde: You should have mute and then stop video and then share screen. But if not, look at the 3 dots. Yeah.

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Eilidh Locherty: If we give me a moment sorry for these technical difficulties already.

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Tom Wilde: That's okay. I'm just looking to see if that's something on my end.

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Eilidh Locherty: Oh, it's asking me to grant access. Why didn't I do that sooner?

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Tom Wilde: So you, yeah, host.

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Tom Wilde: yeah.

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Eilidh Locherty: I think it's that for me as well, cause it's like it's now asking me to quit and reopen.

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Tom Wilde: Is that? It's asking you to quit and reopen zoom.

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Eilidh Locherty: Yeah.

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Tom Wilde: Let me. Why is that not working? Let me, I wonder if I if I you, should be co-host at the moment.

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Eilidh Locherty: Yeah.

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Tom Wilde: Thing

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Tom Wilde: so.

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Tom Wilde: and I'm not sharing.

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Eilidh Locherty: I'm happy to just hop off and hop back on.

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Tom Wilde: Yeah, let me see, I'm just gonna make you host and see if that changes your permissions.

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Eilidh Locherty: Probably not. It's asking me to.

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Tom Wilde: I see.

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Tom Wilde: Yeah, no. Do you want to rejoin quickly, Aileen, and then we'll see if that.

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Eilidh Locherty: Indeed, I'll do that. I'll be back in a moment.

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Tom Wilde: Yeah.

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Tom Wilde: no problem. Okay, yeah. Thanks for suggestions. Everyone. Yeah, Mike, we have a she was. She is co-host already. So I'm not sure the problem

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Tom Wilde: is, but we will get started. And in the meantime.

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Tom Wilde: yeah, if you've got any questions for me. I can look up the networking sessions. Question

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Tom Wilde: and let me just

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Tom Wilde: grab an answer for you while we're going along.

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Tom Wilde: Okay.

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Eilidh Locherty: Okey, dokey.

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Tom Wilde: Just making you co-host a.

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Eilidh Locherty: No worries.

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Eilidh Locherty: I am back, and hopefully it shall work this time.

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Tom Wilde: While you're doing that, I'm just gonna offer a word of advice to anyone who struggles slightly with the pronunciation of Ailey's name. She gave me a great tip, which is just remember, it's just like Haley, but without the h.

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Tom Wilde: Works me every time

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Tom Wilde: brilliant.

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Tom Wilde: If.

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Eilidh Locherty: It's because of

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Eilidh Locherty: a lot of the American people that I've met. They're all they don't. They always know how to say Ailey, after hearing Haley. Yeah. So I find it's the easiest way to do it. Let me see if I can.

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Eilidh Locherty: Okay, this is more promising.

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Eilidh Locherty: This is definitely more promising.

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Eilidh Locherty: Okay, Dookie, let me just.

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Tom Wilde: Okay, there, we go.

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Eilidh Locherty: It's not showing the right screen, but it is now.

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Tom Wilde: Okay, I'm gonna I'm gonna sit, step back, hey? Good luck! And we'll talk at the end.

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Eilidh Locherty: Thank you.

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Eilidh Locherty: Okay, Dokey. So Hello, I am Ailey. And this is the presentation on for today.

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Eilidh Locherty: So today we're going to be talking about conflict, and how we can use that alongside tension in order to strengthen our manuscripts. Be it

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Eilidh Locherty: fiction.

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Eilidh Locherty: creative, whatever avenue that you go down, you can use it in whatever you find easiest and best for your work.

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Eilidh Locherty: So I'd 1st like to thank

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Eilidh Locherty: Tom and Team for allowing me to do this talk. This is my 1st ever talk

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Eilidh Locherty: as you can tell. I am very new with the whole zoom thing, and I just appreciate you all for being here. So thank you very much for your time, you know, for taking time out of your day for being here today.

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Eilidh Locherty: So this is just a quick reminder. The presentation will take about 4 or 5 min, allowing for about 15 or so minutes for questions. Questions will be at the end, so, as Tom says meant.

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Eilidh Locherty: add any questions into the Q. And a box, and that will be where we can see those questions. You can re-watch the presentation if you have to step out at any time.

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Eilidh Locherty: That's no problem. Do what's best for you. You'll be able to

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Eilidh Locherty: go and review. I've got the exact presentation here

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Eilidh Locherty: for you to view again. You can

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Eilidh Locherty: print it out. You you could do whatever you would like with it, anything to help you with your own work.

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Eilidh Locherty: and if you have any questions, put it in the chat, or if you would like, you can DM, me or email me

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Eilidh Locherty: if you've got any.

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Eilidh Locherty: you know questions after this presentation.

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Eilidh Locherty: So what we will be covering today is

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Eilidh Locherty: what conflict is and how it contributes to a great story. There will be live examples of some novels that do do this well.

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Eilidh Locherty: because I find that always having examples helps kind of intricate that into your mind.

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Eilidh Locherty: How you can write conflict that's realistic

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Eilidh Locherty: and doesn't drag

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Eilidh Locherty: ways of tightening scenes so how you can edit them as well as write them.

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Eilidh Locherty: And

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Eilidh Locherty: going from there, we can kind of

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Eilidh Locherty: if you've got any questions, as it says

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Eilidh Locherty: we could do that.

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Eilidh Locherty: So

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Eilidh Locherty: I'm Ellie. I think everybody knows that at this point. I write dystopian mystery and romance.

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Eilidh Locherty: For for the most part I do quite like writing kind of

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Eilidh Locherty: little bits here and there. Just depends on how I feel. I'm a copy online editor and I am neurodivergent. I've got Adhd. I've got cerebral palsy. So I'm disabled.

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Eilidh Locherty: and

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Eilidh Locherty: I'm here today to talk

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Eilidh Locherty: about, not Phd. But writing. But

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Eilidh Locherty: peach tea is something I would also like to talk about, and I will give you that recipe, Tom, and if anyone else wants that recipe.

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Eilidh Locherty: I will also give you that raspber.

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Eilidh Locherty: So some of my core values when it comes to being an editor, is education.

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Eilidh Locherty: So a big part of

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Eilidh Locherty: kind of what I like to do for the most part, is

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Eilidh Locherty: educating people with my edits, with my posts, with anything that I like doing.

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Eilidh Locherty: and

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Eilidh Locherty: a big part of that is

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Eilidh Locherty: being able to explain why certain things happen in novels, why we didn't

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Eilidh Locherty: certain changes, certain things

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Eilidh Locherty: to just improve your manuscript.

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Eilidh Locherty: So a big part of that is

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Eilidh Locherty: being mindful of

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Eilidh Locherty: what you want to do in your novel, and

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Eilidh Locherty: having that informed decision when you make certain changes.

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Eilidh Locherty: Another big part of that is being transparent. So if there's a certain change that needs to be made.

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Eilidh Locherty: if there's certain things that shouldn't be happening in a novel, because, say, it's not mindful and conscious language.

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Eilidh Locherty: I'm here to be honest with you.

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Eilidh Locherty: but I'm also here to do that in a way that is mindful of my own language, because

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Eilidh Locherty: there's a balance

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Eilidh Locherty: and finally collaborating. I love working with Indie writers

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Eilidh Locherty: and having that conversation opening that conversation is really important to me, and I find that's what

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Eilidh Locherty: I do best when it comes to working with authors.

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Eilidh Locherty: Here's just a little cool guy like

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Eilidh Locherty: to allow myself to breathe for a minute.

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Eilidh Locherty: Okay, there. Okay, so what is conflict? Intention?

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Eilidh Locherty: So conflict is a big thing that it you kind of need it in your novel.

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Eilidh Locherty: It's what drives a story.

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Eilidh Locherty: And it

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Eilidh Locherty: gives you that problem that needs to be fixed

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Eilidh Locherty: in the novel.

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Eilidh Locherty: So there's 2 kinds. There's internal.

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Eilidh Locherty: and there's external.

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Eilidh Locherty: both of which drive a novel, and you need both

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Eilidh Locherty: in order to push the story forward.

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Eilidh Locherty: you know. Be it clear stakes, motivations.

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Eilidh Locherty: There's so many things that you could do in order to

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Eilidh Locherty: drive that in.

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Eilidh Locherty: Now

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Eilidh Locherty: there's more than just, you know. You might have heard of the whole nurture versus nature.

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Eilidh Locherty: You know man versus nature, man versus

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Eilidh Locherty: technology, that type of thing. There's a lot more that goes into it

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Eilidh Locherty: and allows you to essentially

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Eilidh Locherty: put in your novel and do things that will make your book stand out, especially if you do certain things to make it as realistic as possible for your character.

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Eilidh Locherty: The problem in when I what I see a lot isn't that there's no conflict. It's the conflict. It doesn't make sense for your character, and

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Eilidh Locherty: there's

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Eilidh Locherty: plot driven, and there's character driven, and sometimes

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Eilidh Locherty: you kind of have to have a

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Eilidh Locherty: character-driven novel

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Eilidh Locherty: in the way of conflict.

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Eilidh Locherty: because if it doesn't make sense for the character.

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Eilidh Locherty: Why wouldn't? Why why should the reader

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Eilidh Locherty: care?

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Eilidh Locherty: And that's a big part of that.

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Eilidh Locherty: And also tension goes hand in hand with conflict.

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Eilidh Locherty: Conflict tends to drive some tension up. So it's about, you know the suspense, the emotional strain, the emotional emotional turmoil.

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Eilidh Locherty: What's the anticipation? What's the uncertainty

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Eilidh Locherty: while conflict

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Eilidh Locherty: is important.

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Eilidh Locherty: Tension helps the reader to flip the page.

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Eilidh Locherty: So, as I says, what different kinds of conflict is there? There's man versus man.

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Eilidh Locherty: man versus society, man versus self.

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Eilidh Locherty: man versus time, destiny, temptation. There's loads of kinds of tension depending on what you want to do and what genre

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Eilidh Locherty: a big part

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Eilidh Locherty: of what I'm doing today is making sure that, regardless of the genre that you're working with.

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Eilidh Locherty: you know that there is a conflict that makes sense for your store.

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Eilidh Locherty: So

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Eilidh Locherty: with that in mind.

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Eilidh Locherty: a big part of what I'm excited to talk about are these examples, because these are novels that I've read, that I've enjoyed that I've studied

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Eilidh Locherty: because a big part of what I enjoy doing is studying novels.

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Eilidh Locherty: and

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Eilidh Locherty: I'm going to delve into

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Eilidh Locherty: the different kinds of

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Eilidh Locherty: conflict and tension that will help

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Eilidh Locherty: with examples. So in this example, this is specifically the new novel of the hunger games, the bald of some bird birds and snakes.

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Eilidh Locherty: So as you

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Eilidh Locherty: actually hands hands up. Who has read the New Hunger Games book?

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Eilidh Locherty: Okay.

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Eilidh Locherty: 3, girl, bye. Oh.

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Eilidh Locherty: awesome.

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Eilidh Locherty: So

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Eilidh Locherty: for anybody who's not read it. It's a prequel

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Eilidh Locherty: for

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Eilidh Locherty: the hunger games. So it takes place

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Eilidh Locherty: in kind of a world

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Eilidh Locherty: before the whole

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Eilidh Locherty: hunger games existed, and it goes into

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Eilidh Locherty: it goes into a

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Eilidh Locherty: prequel before Katniss Everdeen existed. When Carolina Snow Aka, the Big bad in the initial

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Eilidh Locherty: series.

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Eilidh Locherty: you know.

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Eilidh Locherty: before he became who he was, it was his villain origin story, as I like to call it.

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Eilidh Locherty: So his

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Eilidh Locherty: conflict was man versus man.

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Eilidh Locherty: Now, what do I mean by that

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Eilidh Locherty: right? So

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Eilidh Locherty: when it comes to man versus man.

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Eilidh Locherty: what ends up happening is, there's a conflict between 2 or more people.

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Eilidh Locherty: So the person that's there who tends to be. The main character doesn't have to be, but in this instance it is.

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Eilidh Locherty: And

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Eilidh Locherty: another

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Eilidh Locherty: person or people

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Eilidh Locherty: a few good examples is

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Eilidh Locherty: Carlin.

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Eilidh Locherty: I can't talk today. Now, Coriolinus and the Janus Plinth.

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Eilidh Locherty: Now

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Eilidh Locherty: they, too, are

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Eilidh Locherty: colleagues, if you will, and students together in the same school.

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Eilidh Locherty: Obviously they're

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Eilidh Locherty: trying to go in for this plinth prize in order to win, because it'll give snow that leg up in

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Eilidh Locherty: becoming president, because obviously a big thing he wants is that power given his per his.

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Eilidh Locherty: the nature of how Puri is at that present moment in time.

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Eilidh Locherty: So he's finding that to be a level of conflict, that he's having to deal with on a day to day basis.

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Eilidh Locherty: Another example of that is Lucy Greybeard, who is

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Eilidh Locherty: the love interest, if you will.

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Eilidh Locherty: He is using her as a leg up

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Eilidh Locherty: in order to get that

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Eilidh Locherty: power trip

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Eilidh Locherty: and into getting into that power.

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Eilidh Locherty: And the way that he does that is through control.

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Eilidh Locherty: and even though their relationship was good. To begin with.

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Eilidh Locherty: he sees this hung hunger for power.

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Eilidh Locherty: and

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Eilidh Locherty: he messes up for himself.

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Eilidh Locherty: and he ends up. Obviously at the end of the novel he ends up

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Eilidh Locherty: failing, and not only losing that relationship.

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Eilidh Locherty: but kind of losing

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Eilidh Locherty: his old self.

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Eilidh Locherty: If anyone has read the novel.

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Eilidh Locherty: You'll understand that. Quote

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Eilidh Locherty: every time I say it. I I can't help but laugh.

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Eilidh Locherty: But another part of the conflict is his conflict with Dr. Gall, who is the game maker of the hungry games.

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Eilidh Locherty: and

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Eilidh Locherty: she is obviously going in and trying to

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Eilidh Locherty: pish

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Eilidh Locherty: for him

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Eilidh Locherty: to become another game maker

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Eilidh Locherty: end up being that person who makes the games and

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Eilidh Locherty: goes into power even more.

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Eilidh Locherty: And that is something

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Eilidh Locherty: that he's having to fight against, because he doesn't know whether he wants

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Eilidh Locherty: that kind of

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Eilidh Locherty: power, or whether he wants a more positive power. Given his experiences with his father, and

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Eilidh Locherty: just the people all around them.

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Eilidh Locherty: Another level of that is just his peers.

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Eilidh Locherty: He has rivalries with people at the Academy.

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Eilidh Locherty: just people in the capital

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Eilidh Locherty: who are essentially using him, but he's using them.

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Eilidh Locherty: And it's a constant fight against who?

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Eilidh Locherty: Who's going to win?

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Eilidh Locherty: Who's not going to win? And

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Eilidh Locherty: essentially.

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Eilidh Locherty: just what is it going to be

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Eilidh Locherty: that is going to make things interesting.

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Eilidh Locherty: Now, essentially, he hates the districts because that's a big part of the novels as a whole.

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Eilidh Locherty: And what ends up happening in this is his hatred.

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Eilidh Locherty: drives the tension, and drives

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Eilidh Locherty: him to go as far as he did

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Eilidh Locherty: to become presents. No.

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Eilidh Locherty: he hates the capital. That much that he ends up leaving.

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Eilidh Locherty: you know, the whole path of being the nice guy

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Eilidh Locherty: and going into power because he wants to control the districts in the way that he wants to remind them that you know his dad died his.

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Eilidh Locherty: you know his relationships are torn.

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Eilidh Locherty: and that he wants that power.

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Eilidh Locherty: So that is the hunger games. And why man versus man is a big part of that.

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Eilidh Locherty: as some might know. Obviously, there's another layer. There's multiple.

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Eilidh Locherty: There's multiple conflicts within this novel. It's so layered. It's pretty

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Eilidh Locherty: powerful, but this is one of the main ones.

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Eilidh Locherty: Now, another one is man versus society, the handmaid's tale.

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Eilidh Locherty: This is a novel that I read, especially when I was at school.

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Eilidh Locherty: and this is a novel that

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Eilidh Locherty: might be a bit

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Eilidh Locherty: hard hitting. Given everything that's going on in the media. I understand, if this is a trigger, so if you need to take a step.

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Eilidh Locherty: there's nothing wrong with that

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Eilidh Locherty: but a big part of the man versus society is the oppressive regime, and how she is stuck in Gilead.

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Eilidh Locherty: where they're stripped of their rights, and essentially they

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Eilidh Locherty: don't have the rights that they have. They can't

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Eilidh Locherty: have a job, they can't.

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Eilidh Locherty: They can only go to school in certain ways.

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Eilidh Locherty: If they can bear children, they have to do that.

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Eilidh Locherty: A big part of that is the loss of automate that they have.

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Eilidh Locherty: and how

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Eilidh Locherty: men basically run their life similar to

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Eilidh Locherty: however, many years ago, where the woman is the person that

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Eilidh Locherty: runs the home while the man runs

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Eilidh Locherty: work and gets the money.

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Eilidh Locherty: But it there it goes a step further than that.

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Eilidh Locherty: Given the level of autonomy that women in this

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Eilidh Locherty: world

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Eilidh Locherty: has lost.

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Eilidh Locherty: they can't have their own children.

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Eilidh Locherty: they have to give it to the person

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Eilidh Locherty: who's higher up.

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Eilidh Locherty: and

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Eilidh Locherty: they're going from person to person to person in order to

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Eilidh Locherty: be

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Eilidh Locherty: the baby maker of that house.

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Eilidh Locherty: So a big part of that is the rebellion

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Eilidh Locherty: now in the Underground there was a rebellion of

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Eilidh Locherty: what was going on.

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Eilidh Locherty: because obviously back way back

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Eilidh Locherty: there was a life where this didn't happen.

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Eilidh Locherty: It was like it was today where men and women basically

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Eilidh Locherty: got to do what they wanted essentially, to some degree.

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Eilidh Locherty: but a big part of that is the fact that

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Eilidh Locherty: some people didn't want

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Eilidh Locherty: to have this happen. And so a rebellion formed underground.

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Eilidh Locherty: and tried to have her represent

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Eilidh Locherty: the rebellion as time went on. But in this novel, specifically, because I'm going further into what the TV show now is. The novel focuses mainly on how the rebellion helped her to get out of

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Eilidh Locherty: where she was at that present moment in time.

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Eilidh Locherty: Now off, Red struggled with her identity throughout the entirety of the novel, because men they had the name of Off Red, which was of the person that they were in the house of. So

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Eilidh Locherty: of Fred rather than their own name.

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Eilidh Locherty: and depending on

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Eilidh Locherty: how old they were.

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Eilidh Locherty: how old these people were.

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Eilidh Locherty: Some might have not even known what their name was, or they might have forgotten

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Eilidh Locherty: cause. For all we know, there could have been

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Eilidh Locherty: younger people who went up into this, and then kind of

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Eilidh Locherty: with all the curly, with all of the

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Eilidh Locherty: harrowing

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Eilidh Locherty: things that happened

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Eilidh Locherty: there would be a level of struggling for

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Eilidh Locherty: who are they? What are they there for?

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Eilidh Locherty: Why is this happening to us?

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Eilidh Locherty: Because obviously there was some that became

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Eilidh Locherty: different kind of roles, if you will. So Martha's were like the

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Eilidh Locherty: makers of the house. They did the bread making. They did the

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Eilidh Locherty: cleaning and all that type of thing.

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Eilidh Locherty: And so a big part of that is the level of identity that they have lost.

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Eilidh Locherty: and

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Eilidh Locherty: going into surveillance and fear

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Eilidh Locherty: as well as inequality.

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Eilidh Locherty: there is always

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Eilidh Locherty: a level of surveillance and fear. There's the eyes always keeping an eye on everything.

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Eilidh Locherty: and if you've

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Eilidh Locherty: broker rule

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Eilidh Locherty: you would have to

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Eilidh Locherty: see the eyes cause

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Eilidh Locherty: there's guardians everywhere.

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Eilidh Locherty: And

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Eilidh Locherty: essentially there's a punishment.

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Eilidh Locherty: Now, a big part of this

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Eilidh Locherty: I would like to mention is

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Eilidh Locherty: that there are conflicts

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Eilidh Locherty: with natural consequences.

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Eilidh Locherty: But there's

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Eilidh Locherty: also ones with extreme

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Eilidh Locherty: circum.

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Eilidh Locherty: Extreme consequences

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Eilidh Locherty: now depending on the let. What type of novel you're doing is

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Eilidh Locherty: depending on how far astray you can go up in being more kind of

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Eilidh Locherty: difficult with the consequences to how natural they are. Cause in this instance of the handmaid's tale, because it's a dystopian.

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Eilidh Locherty: it can get away with being a bit more cruel than say.

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Eilidh Locherty: as contemporary romance.

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Eilidh Locherty: Now the last example I would like to talk about is the fault in our stars. Now I did kind of have to go in between. I was trying to figure out which one to do for this example, because there's another novel that I thought of for this instance.

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Eilidh Locherty: But it's okay, because I've left it out for

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Eilidh Locherty: later on in this chat.

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Eilidh Locherty: so

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Eilidh Locherty: man versus time is another element of conflict.

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Eilidh Locherty: So a big part of that is the fact that Augustus and Hazel are both terminal with their cancer, which is term and obviously terminal illness.

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Eilidh Locherty: And that means that they're

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Eilidh Locherty: time, is limited in terms of what they can do

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00:31:52.390 --> 00:31:56.299
Eilidh Locherty: and how long they have to make a relationship.

385
00:31:57.410 --> 00:31:58.390
Eilidh Locherty: So

386
00:31:58.890 --> 00:32:01.930
Eilidh Locherty: they were aware of the fact that

387
00:32:02.270 --> 00:32:03.510
Eilidh Locherty: they're all going to die.

388
00:32:03.700 --> 00:32:06.730
Eilidh Locherty: And a big part of this novel is

389
00:32:06.770 --> 00:32:08.810
Eilidh Locherty: the internal struggle.

390
00:32:09.960 --> 00:32:12.980
Eilidh Locherty: resolve, revolving around

391
00:32:14.110 --> 00:32:19.699
Eilidh Locherty: the awareness that she will likely die as a young adult

392
00:32:19.930 --> 00:32:22.920
Eilidh Locherty: or a young teen depending on

393
00:32:22.960 --> 00:32:25.869
Eilidh Locherty: at what point she was thinking cause she was.

394
00:32:26.000 --> 00:32:29.409
Eilidh Locherty: She had cancer from a very young age, and she

395
00:32:29.940 --> 00:32:32.829
Eilidh Locherty: grew up still having this cancer.

396
00:32:33.300 --> 00:32:36.070
Eilidh Locherty: So a big part of

397
00:32:36.930 --> 00:32:40.449
Eilidh Locherty: her awareness and her internal struggle

398
00:32:40.630 --> 00:32:41.600
Eilidh Locherty: is

399
00:32:43.040 --> 00:32:45.050
Eilidh Locherty: the knowledge of

400
00:32:47.380 --> 00:32:49.429
Eilidh Locherty: I'm going to die. So what's the point?

401
00:32:49.870 --> 00:32:53.109
Eilidh Locherty: What's the point in me doing anything? If

402
00:32:53.160 --> 00:32:55.700
Eilidh Locherty: what's going to happen anyway? Is death.

403
00:32:56.960 --> 00:32:59.350
Eilidh Locherty: So what does she do? She

404
00:32:59.370 --> 00:33:06.010
Eilidh Locherty: basically goes to the support group just to appease her mother, as some of us sometimes do.

405
00:33:06.120 --> 00:33:07.140
Eilidh Locherty: and

406
00:33:07.300 --> 00:33:08.690
Eilidh Locherty: she meets

407
00:33:09.140 --> 00:33:13.999
Eilidh Locherty: Augustus. Augustus is a young man who also has cancer.

408
00:33:14.060 --> 00:33:20.799
Eilidh Locherty: and they begin developing this romance, which ended up blossoming extremely extremely fast.

409
00:33:21.420 --> 00:33:26.960
Eilidh Locherty: But this was short, lived because of the level of decline that Augustus had

410
00:33:27.530 --> 00:33:29.100
Eilidh Locherty: with his cancer.

411
00:33:29.360 --> 00:33:33.589
Eilidh Locherty: and it was faster than expected, and it forced them to come

412
00:33:33.970 --> 00:33:36.489
Eilidh Locherty: to confront this.

413
00:33:36.640 --> 00:33:42.739
Eilidh Locherty: and it was a beautiful moment where they were getting to be so close to each other.

414
00:33:42.820 --> 00:33:50.949
Eilidh Locherty: and essentially find out what they both love, what they want to do with their lives, and they got to share a trip to Amsterdam

415
00:33:51.360 --> 00:34:02.020
Eilidh Locherty: so that way hazel could meet her favorite author. But Augustus Augustus just got to spend time with Hazel, which is a beautiful moment that

416
00:34:02.050 --> 00:34:03.200
Eilidh Locherty: we watch.

417
00:34:04.230 --> 00:34:05.210
Eilidh Locherty: So

418
00:34:05.870 --> 00:34:07.389
Eilidh Locherty: they're aware of

419
00:34:07.460 --> 00:34:08.739
Eilidh Locherty: their illness.

420
00:34:09.810 --> 00:34:12.550
Eilidh Locherty: So why does it? I

421
00:34:12.630 --> 00:34:14.960
Eilidh Locherty: intensify their desire.

422
00:34:15.570 --> 00:34:17.310
Eilidh Locherty: It's because

423
00:34:17.960 --> 00:34:22.000
Eilidh Locherty: none of them know how long they've got.

424
00:34:22.080 --> 00:34:23.230
Eilidh Locherty: so

425
00:34:23.960 --> 00:34:29.820
Eilidh Locherty: why shouldn't they just live like the next day is going to be the last day of their life.

426
00:34:30.469 --> 00:34:39.170
Eilidh Locherty: which is a big part of what you see with them, going to trips egging people's homes, which is

427
00:34:39.429 --> 00:34:41.203
Eilidh Locherty: oddly specific,

428
00:34:42.230 --> 00:34:46.599
Eilidh Locherty: watching movies, reading each other's favorite novels.

429
00:34:47.530 --> 00:34:48.949
Eilidh Locherty: And so

430
00:34:49.139 --> 00:34:56.490
Eilidh Locherty: that is a big part of why Augustus's worry of leaving a meaningful legacy

431
00:34:57.010 --> 00:35:02.219
Eilidh Locherty: is so important, because that is his internal struggle of.

432
00:35:04.010 --> 00:35:07.180
Eilidh Locherty: you know, wanting to be remembered and wanting to be

433
00:35:07.190 --> 00:35:09.039
Eilidh Locherty: important in someone else's life.

434
00:35:10.730 --> 00:35:11.450
Eilidh Locherty: Nope.

435
00:35:12.450 --> 00:35:13.529
Eilidh Locherty: think I went back.

436
00:35:13.950 --> 00:35:22.050
Eilidh Locherty: Okay, okay. So I'm going to take this moment, and I would like you to for a minute either write it down on a piece of paper. Think about it. If you would like

437
00:35:22.210 --> 00:35:24.720
Eilidh Locherty: write it in the chat I would love to know.

438
00:35:24.750 --> 00:35:26.760
Eilidh Locherty: Is there any other

439
00:35:27.260 --> 00:35:29.639
Eilidh Locherty: conflicts that you can think of.

440
00:35:30.190 --> 00:35:34.390
Eilidh Locherty: or even novels that follow the conflicts that I've mentioned.

441
00:35:36.810 --> 00:35:39.199
Eilidh Locherty: Would you like to write them down? On

442
00:35:39.560 --> 00:35:43.969
Eilidh Locherty: what kinds of conflicts that you've seen in novels, be it your own

443
00:35:44.120 --> 00:35:47.239
Eilidh Locherty: or in popular novels, that you've read

444
00:35:58.630 --> 00:36:00.869
Eilidh Locherty: month versus date.

445
00:36:06.580 --> 00:36:09.810
Eilidh Locherty: Yes, snow versus the world.

446
00:36:15.060 --> 00:36:18.109
Eilidh Locherty: It depends on the level of

447
00:36:18.440 --> 00:36:22.839
Eilidh Locherty: mun versus self you're talking about, because

448
00:36:23.930 --> 00:36:26.880
Eilidh Locherty: when you're talking about man versus self.

449
00:36:27.880 --> 00:36:32.899
Eilidh Locherty: In a way you could say that it's man versus yourself. None versus man.

450
00:36:33.190 --> 00:36:42.080
Eilidh Locherty: but it's but it depends on to what extent you're talking about. I'll go more into this at the end.

451
00:36:42.824 --> 00:36:48.520
Eilidh Locherty: Mine versus nature. The Martian mine versus society, Fahrenheit. 4, 5, 1

452
00:36:48.730 --> 00:36:50.850
Eilidh Locherty: Ed rising, and others in this use.

453
00:36:51.400 --> 00:36:52.500
Eilidh Locherty: What

454
00:36:52.950 --> 00:36:57.097
Eilidh Locherty: is that referring to in terms of

455
00:36:58.780 --> 00:37:00.290
Eilidh Locherty: conflict that you've seen

456
00:37:01.030 --> 00:37:02.700
Eilidh Locherty: split personality.

457
00:37:03.780 --> 00:37:06.449
Eilidh Locherty: man versus man, man versus women.

458
00:37:06.950 --> 00:37:12.559
Eilidh Locherty: Classic conflict that no one's talking about? Yeah, I yeah, I see that one for this man

459
00:37:13.150 --> 00:37:15.420
Eilidh Locherty: Memphis society air

460
00:37:20.040 --> 00:37:21.750
Eilidh Locherty: man versus money.

461
00:37:23.680 --> 00:37:25.830
Eilidh Locherty: Those are really good ones. Oh.

462
00:37:25.910 --> 00:37:27.219
Eilidh Locherty: what kind of come.

463
00:37:28.840 --> 00:37:33.440
Eilidh Locherty: man versus man, Nancy farmers, the Sea of trolls. Trilogy.

464
00:37:33.980 --> 00:37:34.820
Eilidh Locherty: Okay.

465
00:37:39.070 --> 00:37:44.890
Eilidh Locherty: man versus aliens. A good one. That's a big one in science fiction and man versus power.

466
00:37:45.500 --> 00:37:49.840
Eilidh Locherty: Okay, dokey. So I'm just going to move on to oh.

467
00:37:49.860 --> 00:37:52.780
Eilidh Locherty: Earth versus moon think disaster movies.

468
00:37:53.370 --> 00:37:54.470
Eilidh Locherty: That's a good one.

469
00:37:54.880 --> 00:37:55.700
Eilidh Locherty: I've

470
00:37:56.030 --> 00:38:06.000
Eilidh Locherty: find disaster movies to be intriguing, especially when it comes to Earth versus man. And talking about the level of.

471
00:38:06.570 --> 00:38:09.349
Eilidh Locherty: you know, disaster that's going on.

472
00:38:12.520 --> 00:38:16.329
Eilidh Locherty: also man versus man in the 3 body problem.

473
00:38:21.070 --> 00:38:22.160
Eilidh Locherty: Yes.

474
00:38:22.400 --> 00:38:24.649
Eilidh Locherty: okay, I'm just gonna keep that oops.

475
00:38:27.580 --> 00:38:29.690
Eilidh Locherty: Partly. I've just decided to

476
00:38:30.470 --> 00:38:39.989
Eilidh Locherty: show you guys some of my the Powerpoint ahead of time. So so the kinds of tension I'd like to talk about are

477
00:38:40.040 --> 00:38:54.260
Eilidh Locherty: just how there's quite a lot. So there's unspoken feelings, impending danger secrets waiting to be revealed, moral dilemmas, fear of discovery, and chase scenes. Now there's a lot more tension that I could discuss.

478
00:38:55.110 --> 00:38:57.359
Eilidh Locherty: but these are just a select few.

479
00:39:00.120 --> 00:39:13.889
Eilidh Locherty: so as some of you might have seen already, because I spoiled myself. Is that secrets wanting to be waiting to be revealed? I guess, in a way you could say it was wanting to be revealed as well, because it was just

480
00:39:13.930 --> 00:39:17.619
Eilidh Locherty: boiling over is the secret patient.

481
00:39:18.350 --> 00:39:21.820
Eilidh Locherty: So this is a novel that

482
00:39:21.890 --> 00:39:22.900
Eilidh Locherty: is.

483
00:39:23.120 --> 00:39:28.799
Eilidh Locherty: I've read once, and I can't get myself to read it again because

484
00:39:29.050 --> 00:39:30.359
Eilidh Locherty: I was too shocked.

485
00:39:31.510 --> 00:39:35.790
Eilidh Locherty: Has anyone has anyone read it? I don't want to spoil it, because it's just such a good.

486
00:39:36.010 --> 00:39:40.380
Eilidh Locherty: It's just such a good novel that I feel like if I spoil it.

487
00:39:40.650 --> 00:39:43.210
Eilidh Locherty: I probably wouldn't forgive myself.

488
00:39:44.960 --> 00:39:46.060
Eilidh Locherty: Haven't read it.

489
00:39:46.160 --> 00:39:53.350
Eilidh Locherty: Okay, I'll be vague then, because it is a good novel, and I really don't want to spoil too much.

490
00:39:55.960 --> 00:39:57.939
Eilidh Locherty: Okay. So

491
00:39:58.870 --> 00:40:04.919
Eilidh Locherty: when it comes to secrets wanting to be revealed in terms of

492
00:40:05.770 --> 00:40:06.910
Eilidh Locherty: tension.

493
00:40:07.750 --> 00:40:10.700
Eilidh Locherty: There's a lot of ways that you can do it.

494
00:40:11.740 --> 00:40:12.860
Eilidh Locherty: So

495
00:40:14.570 --> 00:40:17.709
Eilidh Locherty: there's loads of secrets that people can hold.

496
00:40:17.850 --> 00:40:21.870
Eilidh Locherty: For example, Gong girl is another really good example of this.

497
00:40:22.010 --> 00:40:23.540
Eilidh Locherty: So Alicia

498
00:40:24.530 --> 00:40:27.350
Eilidh Locherty: is silent a lot of the time in this novel.

499
00:40:27.610 --> 00:40:30.670
Eilidh Locherty: and it hides a major secret. So it

500
00:40:30.710 --> 00:40:36.969
Eilidh Locherty: revolves around the refusal to speak after the murder of her husband.

501
00:40:37.180 --> 00:40:40.119
Eilidh Locherty: which is a big part of

502
00:40:40.200 --> 00:40:42.679
Eilidh Locherty: you know. Why is she staying quiet.

503
00:40:42.980 --> 00:40:48.080
Eilidh Locherty: you know. Why is she just sitting there? Why is she

504
00:40:48.260 --> 00:40:52.599
Eilidh Locherty: just not being receptive to the therapist?

505
00:40:54.050 --> 00:40:58.070
Eilidh Locherty: Now Alicia has a diary that Theo discovers.

506
00:40:58.390 --> 00:41:00.650
Eilidh Locherty: and it reveals a

507
00:41:01.360 --> 00:41:05.589
Eilidh Locherty: bitter, too, regarding her life regarding this murder.

508
00:41:06.070 --> 00:41:07.979
Eilidh Locherty: But it doesn't give the whole picture

509
00:41:08.310 --> 00:41:11.780
Eilidh Locherty: the reason why this is such a big

510
00:41:12.790 --> 00:41:13.960
Eilidh Locherty: part of

511
00:41:14.040 --> 00:41:18.879
Eilidh Locherty: the story, and how it builds. This tension is the level of.

512
00:41:19.900 --> 00:41:24.320
Eilidh Locherty: you know. There's hidden truths in there. There's stuff that she's written.

513
00:41:24.530 --> 00:41:35.390
Eilidh Locherty: and there's a lot of stuff that you know. Is it going to be true? Because just because you write it in a not in a diary doesn't mean that it's 100% true.

514
00:41:35.800 --> 00:41:38.499
Eilidh Locherty: a good reason on why you can

515
00:41:39.060 --> 00:41:40.520
Eilidh Locherty: interrupt and

516
00:41:40.590 --> 00:41:44.289
Eilidh Locherty: bring that into a novel if you wanted to, is

517
00:41:44.450 --> 00:41:49.990
Eilidh Locherty: because you're able to just give little snippets here and there

518
00:41:50.390 --> 00:41:54.499
Eilidh Locherty: and give things that you want to give away.

519
00:41:54.610 --> 00:41:59.519
Eilidh Locherty: especially, you know, be a unreliable narrator, or just.

520
00:41:59.810 --> 00:42:00.640
Eilidh Locherty: you know.

521
00:42:00.870 --> 00:42:11.329
Eilidh Locherty: a unique way of doing things. Now Theo's investigation is rather slow when it comes to uncovering secrets, and as she digs deeper

522
00:42:12.120 --> 00:42:16.210
Eilidh Locherty: and it just grows because of the level of

523
00:42:17.030 --> 00:42:19.630
Eilidh Locherty: things that have been shared.

524
00:42:20.070 --> 00:42:26.129
Eilidh Locherty: and it really is conflicting in terms of what he knows to be true and things that he's found out.

525
00:42:26.190 --> 00:42:30.270
Eilidh Locherty: which means that he's essentially having to dig up

526
00:42:30.290 --> 00:42:33.669
Eilidh Locherty: and figure out is something actually happening.

527
00:42:34.440 --> 00:42:35.749
Eilidh Locherty: or is it not?

528
00:42:36.920 --> 00:42:39.260
Eilidh Locherty: What is the truth, and what is a lie?

529
00:42:39.740 --> 00:42:44.010
Eilidh Locherty: Now another part of that is the dual mystery structure.

530
00:42:44.300 --> 00:42:48.390
Eilidh Locherty: So the novel operates with 2 levels of secret, say.

531
00:42:49.060 --> 00:42:58.180
Eilidh Locherty: so, Alicia, Silence and Theo and his personal life, which is why it's a good level of dual narration.

532
00:42:59.660 --> 00:43:00.730
Eilidh Locherty: No.

533
00:43:01.290 --> 00:43:07.030
Eilidh Locherty: there was a lot of kind of oh, this is interesting to oh.

534
00:43:07.250 --> 00:43:10.180
Eilidh Locherty: are we sure about that? Is that actually happening.

535
00:43:10.270 --> 00:43:14.040
Eilidh Locherty: and it continues to do this piece by piece.

536
00:43:14.080 --> 00:43:17.970
Eilidh Locherty: up until the final scenes, until the final twist

537
00:43:18.330 --> 00:43:22.270
Eilidh Locherty: that reveals the major secret

538
00:43:22.320 --> 00:43:23.890
Eilidh Locherty: that I'm not going to mention.

539
00:43:24.560 --> 00:43:30.310
Eilidh Locherty: and it reveals why Alicia killed her husband.

540
00:43:30.330 --> 00:43:34.249
Eilidh Locherty: and why Theo is personally involved.

541
00:43:34.890 --> 00:43:35.890
Eilidh Locherty: Now.

542
00:43:36.050 --> 00:43:40.350
Eilidh Locherty: a big part of the novel is the fact that this revelation was delayed.

543
00:43:40.480 --> 00:43:46.939
Eilidh Locherty: which is a key. A single key to tension is pacing.

544
00:43:48.260 --> 00:43:48.950
Eilidh Locherty: Oh.

545
00:43:54.584 --> 00:44:00.789
Eilidh Locherty: pacing is a massive part of that. See? Gone, girls here? So she is fear of discovery

546
00:44:00.890 --> 00:44:03.180
Eilidh Locherty: now. She also had.

547
00:44:03.400 --> 00:44:13.420
Eilidh Locherty: you know, a secret wing to reveal itself. But a big part of fear of discovery is the fact that in this novel Amy.

548
00:44:13.780 --> 00:44:20.680
Eilidh Locherty: you know, constructed this lie, that she was, you know, kidnapped and sexually assaulted.

549
00:44:21.250 --> 00:44:29.130
Eilidh Locherty: which is a big part of this novel of the fact that on the anniversary she disappeared, and she made this up.

550
00:44:29.870 --> 00:44:30.920
Eilidh Locherty: Now

551
00:44:31.860 --> 00:44:34.350
Eilidh Locherty: in this tension she's

552
00:44:34.410 --> 00:44:36.760
Eilidh Locherty: scared to be exposed.

553
00:44:36.790 --> 00:44:42.499
Eilidh Locherty: Because what if Nick finds out. You know what's gonna happen? You know?

554
00:44:42.620 --> 00:44:45.590
Eilidh Locherty: What if the police? Because the police are really clever?

555
00:44:45.850 --> 00:45:01.570
Eilidh Locherty: What if they uncover the inconsistencies in her story? And especially, you know, the CCTV. Any other things that they could find cause, even though he planned this live months ahead of time with the level of

556
00:45:02.760 --> 00:45:05.160
Eilidh Locherty: you know things here and there.

557
00:45:07.360 --> 00:45:14.049
Eilidh Locherty: It just talks more about the level of lie that she built in.

558
00:45:14.840 --> 00:45:22.890
Eilidh Locherty: Now there's a lot of pressure and a lot of manipulation on her, because she's having to manipulate this

559
00:45:23.180 --> 00:45:24.420
Eilidh Locherty: evidence

560
00:45:24.830 --> 00:45:31.779
Eilidh Locherty: and also maintain the lie and keep on top of it. Always keep one step ahead.

561
00:45:32.100 --> 00:45:36.800
Eilidh Locherty: which is a big part of why this tension is rather scary.

562
00:45:37.570 --> 00:45:42.829
Eilidh Locherty: Now room is another novel which is impending danger.

563
00:45:42.970 --> 00:45:50.250
Eilidh Locherty: Now, limited resources and isolation is a big part of this novel because of the confines of the space.

564
00:45:51.100 --> 00:45:55.219
Eilidh Locherty: There's a lot of unpredictability because of the level

565
00:45:55.570 --> 00:45:59.840
Eilidh Locherty: of how unpredictable Nick is. And this

566
00:45:59.960 --> 00:46:01.890
Eilidh Locherty: cariness that is.

567
00:46:02.090 --> 00:46:05.390
Eilidh Locherty: She's in this room, and he

568
00:46:05.480 --> 00:46:07.180
Eilidh Locherty: has so much

569
00:46:07.560 --> 00:46:09.190
Eilidh Locherty: power over her.

570
00:46:09.740 --> 00:46:17.229
Eilidh Locherty: which is why it's scary, because if she gets found to be wanting to leave to be planning to leave.

571
00:46:17.360 --> 00:46:21.580
Eilidh Locherty: It builds a lot of terrifying kind of pressure on her.

572
00:46:23.020 --> 00:46:26.740
Eilidh Locherty: Now I would love to hear what you think in terms of

573
00:46:26.820 --> 00:46:31.980
Eilidh Locherty: the types of tension that you've seen in novels, and any books that you can recall.

574
00:46:32.490 --> 00:46:37.059
Eilidh Locherty: So if you would like to add any in the comment section. Well.

575
00:46:37.090 --> 00:46:38.459
Eilidh Locherty: the chat box!

576
00:46:45.640 --> 00:46:48.970
Eilidh Locherty: Yes, and suspense is another part of tension.

577
00:46:49.520 --> 00:46:52.159
Eilidh Locherty: It kind of goes hand in hand.

578
00:46:54.217 --> 00:46:55.980
Eilidh Locherty: Fear of discovery.

579
00:46:59.090 --> 00:47:06.069
Eilidh Locherty: Oh, no, it doesn't have to be novel. I'm just giving it an example. As it can be a novel. It could be a TV show. It could be a game

580
00:47:06.150 --> 00:47:09.379
Eilidh Locherty: race against time to stop a killer. That is another one.

581
00:47:11.290 --> 00:47:14.090
Eilidh Locherty: red rising also fear of discovery. Yes.

582
00:47:16.110 --> 00:47:17.640
Eilidh Locherty: Endgame.

583
00:47:17.860 --> 00:47:19.220
Eilidh Locherty: Oh, enders game.

584
00:47:28.570 --> 00:47:29.270
Eilidh Locherty: Yep.

585
00:47:29.670 --> 00:47:31.440
Eilidh Locherty: Okido, okay. So

586
00:47:32.010 --> 00:47:39.279
Eilidh Locherty: oh, you recently enjoyed the Expanse book series. Great character attention. I'm gonna have to add that on to my.

587
00:47:39.720 --> 00:47:44.420
Eilidh Locherty: I do like supernatural. I'm gonna have to add that onto my reading list.

588
00:47:44.630 --> 00:47:49.640
Eilidh Locherty: Okey Dokey. So a big part of writing is.

589
00:47:49.940 --> 00:48:00.800
Eilidh Locherty: I know I know some people hate it, but you need to plan a few things out in advance. So what kind of tension and conflict do you want your story to have?

590
00:48:01.850 --> 00:48:05.910
Eilidh Locherty: You need to decide what your character wants? Then put an obstacle in their way.

591
00:48:06.280 --> 00:48:11.160
Eilidh Locherty: be it realistic, unrealistic. Whatever fits into your story.

592
00:48:11.280 --> 00:48:21.010
Eilidh Locherty: So be it. You know a character wants to go to this prestigious school, but say their grades are in their way. That's another good way of doing it.

593
00:48:21.310 --> 00:48:26.230
Eilidh Locherty: So you need to keep this conflict going throughout the middle of the story.

594
00:48:26.320 --> 00:48:29.880
Eilidh Locherty: The reason you do this is because of

595
00:48:30.090 --> 00:48:34.289
Eilidh Locherty: the momentum, and you want to make sure that it's not too slow.

596
00:48:34.450 --> 00:48:38.179
Eilidh Locherty: The issue that I see is sometimes people

597
00:48:39.170 --> 00:48:40.960
Eilidh Locherty: keep conflict.

598
00:48:41.980 --> 00:48:43.959
Eilidh Locherty: and it just doesn't

599
00:48:44.320 --> 00:48:49.089
Eilidh Locherty: go through the entirety of the novel. It'll be right at the beginning or right at the end.

600
00:48:49.740 --> 00:48:57.409
Eilidh Locherty: Now, using relationships is a bag of holding. If you do, if you play D and D, that's a nice little

601
00:48:58.100 --> 00:49:16.090
Eilidh Locherty: little reference in there. Relationships are bag of holding worth of conflict. You can have good relationships. So good conflict, bad conflict regarding relationships, and essentially having little fights and little tensions are great ways of doing this

602
00:49:20.900 --> 00:49:21.960
Eilidh Locherty: so

603
00:49:22.830 --> 00:49:24.549
Eilidh Locherty: conflict creates tension

604
00:49:24.730 --> 00:49:28.719
Eilidh Locherty: which leads to the suspense as mentioned in the group chat.

605
00:49:29.250 --> 00:49:32.989
Eilidh Locherty: And it's what keeps readers hooked throughout, and

606
00:49:33.000 --> 00:49:36.640
Eilidh Locherty: we want people to be reading at 2 Am. I know I do.

607
00:49:36.900 --> 00:49:39.800
Eilidh Locherty: And so a big part of that is

608
00:49:40.360 --> 00:49:45.099
Eilidh Locherty: without tension. There's no investment in the emotions.

609
00:49:45.200 --> 00:49:48.250
Eilidh Locherty: And so why would people want to read on?

610
00:49:52.530 --> 00:49:56.340
Eilidh Locherty: So pacing is a big part of

611
00:49:57.560 --> 00:50:00.930
Eilidh Locherty: writing and editing for conflict.

612
00:50:01.150 --> 00:50:04.690
Eilidh Locherty: So you want to make sure that pacing is

613
00:50:05.210 --> 00:50:13.700
Eilidh Locherty: something that you focus on in the editing and the writing of your novel. So if you want something to be more.

614
00:50:13.840 --> 00:50:14.740
Eilidh Locherty: you know.

615
00:50:14.850 --> 00:50:19.559
Eilidh Locherty: slower, you want to make sure there's some longer sentences, some

616
00:50:19.850 --> 00:50:23.550
Eilidh Locherty: big things there, but if you want it to be kind of

617
00:50:24.900 --> 00:50:30.229
Eilidh Locherty: pretty tense and terrifying, snappy sentences, snappy, snappy, snappy.

618
00:50:30.490 --> 00:50:33.449
Eilidh Locherty: And so you you want to leave readers.

619
00:50:33.760 --> 00:50:34.850
Eilidh Locherty: Curious.

620
00:50:35.350 --> 00:50:48.499
Eilidh Locherty: A little bit of curiosity may kill the cat, and maybe your reader, if you leave them on for too long. But that's okay, because as long as you actually give them something to go on to in the next foot of the page, that's the main thing.

621
00:50:49.360 --> 00:51:02.449
Eilidh Locherty: So you want to make use of that internal and external conflict, and for your characters make it personal. Make it hurt. You want to hurt your characters so much

622
00:51:02.800 --> 00:51:07.370
Eilidh Locherty: that they don't want to see the life taken, and then make it better for them

623
00:51:07.970 --> 00:51:09.679
Eilidh Locherty: if you want. Only if you want.

624
00:51:10.750 --> 00:51:22.330
Eilidh Locherty: and another good way of doing that is, having that ticking time bomb and the use of sentences, senses foreshadowing and earning that win or loss.

625
00:51:25.400 --> 00:51:29.970
Eilidh Locherty: So, being mindful of the time. I'll give you this, Powerpoint, and we can.

626
00:51:30.750 --> 00:51:37.740
Eilidh Locherty: Yes, yes, I am rather sadistic with my novels as well. So how can we make it realistic

627
00:51:38.730 --> 00:51:40.800
Eilidh Locherty: now you want to make sure that

628
00:51:40.880 --> 00:51:51.430
Eilidh Locherty: it is relatable with your sticks. You want to make it personal for the character, so make it affect the character, the love life or yourself.

629
00:51:51.670 --> 00:51:56.190
Eilidh Locherty: and you want to make sure that this is painful. Yes, kill your darlings.

630
00:51:56.880 --> 00:52:01.289
Eilidh Locherty: You want to trigger the emotions in your characters.

631
00:52:01.690 --> 00:52:03.940
Eilidh Locherty: so you want to link stakes

632
00:52:04.640 --> 00:52:08.730
Eilidh Locherty: to the fears, hopes, guilts, motivations.

633
00:52:09.130 --> 00:52:15.549
Eilidh Locherty: and you need to make sure that goals are always clear, regardless of what you're writing.

634
00:52:16.020 --> 00:52:17.460
Eilidh Locherty: So be it.

635
00:52:19.210 --> 00:52:22.380
Eilidh Locherty: keeping things simple, relatable.

636
00:52:23.180 --> 00:52:28.580
Eilidh Locherty: depending on what your character is. Of course, if it's a fantasy, you don't want to make things

637
00:52:28.990 --> 00:52:30.899
Eilidh Locherty: too simple

638
00:52:31.040 --> 00:52:39.359
Eilidh Locherty: or too difficult, because at the end of the day you want to make sure that things actually make sense for that character.

639
00:52:39.470 --> 00:52:42.289
Eilidh Locherty: So you need to make sure that things

640
00:52:42.880 --> 00:52:44.519
Eilidh Locherty: are urgent.

641
00:52:45.000 --> 00:52:47.450
Eilidh Locherty: and you want to tie things to the growth.

642
00:52:47.760 --> 00:52:55.999
Eilidh Locherty: the relatability of that, their daily life, their specific daily life, and emphasize the relationships that they have

643
00:52:57.000 --> 00:53:01.729
Eilidh Locherty: so flaws is another big one, so highlighting their weaknesses.

644
00:53:01.740 --> 00:53:03.559
Eilidh Locherty: causing mistakes.

645
00:53:03.710 --> 00:53:06.080
Eilidh Locherty: A big part of that is

646
00:53:06.160 --> 00:53:10.960
Eilidh Locherty: what makes them human or unhuman. If they're, you know.

647
00:53:11.090 --> 00:53:14.250
Eilidh Locherty: not human, but what makes them who they are.

648
00:53:14.650 --> 00:53:26.150
Eilidh Locherty: You can link that with internal battles escalating conflict in the way of you know what are the challenges they have? Do they have a fight? Do they have to, you know.

649
00:53:26.860 --> 00:53:29.710
Eilidh Locherty: do something that is scary for them.

650
00:53:30.870 --> 00:53:33.960
Eilidh Locherty: And you want to build the frustration.

651
00:53:34.610 --> 00:53:40.529
Eilidh Locherty: not only for the author or not author, the reader, but also for the characters itself.

652
00:53:41.330 --> 00:53:42.460
Eilidh Locherty: Now

653
00:53:42.940 --> 00:53:48.680
Eilidh Locherty: the character motivations is another important thing, so you need to

654
00:53:48.910 --> 00:54:00.439
Eilidh Locherty: make them desire to have specific change, be it good or bad, depending on how they are on that scale, and you have to make sure that they have some level of values.

655
00:54:00.660 --> 00:54:09.319
Eilidh Locherty: Now, be it positive values negative values. That doesn't matter. You just want to make sure that they have values that they care for.

656
00:54:09.620 --> 00:54:11.849
Eilidh Locherty: and add that pressure that

657
00:54:12.430 --> 00:54:15.130
Eilidh Locherty: you know there's a way that you can do it. Where

658
00:54:15.590 --> 00:54:19.839
Eilidh Locherty: are there any expectations in the world that you're in right now.

659
00:54:20.840 --> 00:54:24.349
Eilidh Locherty: And how can you use that to mess with your characters?

660
00:54:29.550 --> 00:54:31.220
Eilidh Locherty: What do you think?

661
00:54:34.100 --> 00:54:36.250
Eilidh Locherty: Thank you, Monica. Thanks for that.

662
00:54:37.590 --> 00:54:39.589
Eilidh Locherty: So relatable. 6.

663
00:54:40.660 --> 00:54:42.849
Eilidh Locherty: You have to make it personal.

664
00:54:42.980 --> 00:54:44.060
Eilidh Locherty: as it says.

665
00:54:44.130 --> 00:54:45.990
Eilidh Locherty: Oh, wait, no, we've just went.

666
00:54:46.110 --> 00:54:47.780
Eilidh Locherty: You're distracting me, Monica.

667
00:54:48.090 --> 00:54:50.590
Eilidh Locherty: Sorry this is a friend.

668
00:54:50.610 --> 00:54:56.360
Eilidh Locherty: so I know this person, and she knows that by saying that it will hype me up a little bit more.

669
00:54:56.852 --> 00:55:02.339
Eilidh Locherty: So there has to be natural consequences, as I says, so align with choices.

670
00:55:02.350 --> 00:55:05.580
Eilidh Locherty: making consequences directly

671
00:55:06.170 --> 00:55:07.640
Eilidh Locherty: resulting

672
00:55:08.290 --> 00:55:12.119
Eilidh Locherty: from characters, actions, or decisions is a big part of that.

673
00:55:12.140 --> 00:55:15.229
Eilidh Locherty: So, for example, if we're

674
00:55:15.360 --> 00:55:21.680
Eilidh Locherty: an example, someone slaps them in the face. You're not going to kill them, or I mean you might. But why would you want to.

675
00:55:21.770 --> 00:55:31.830
Eilidh Locherty: or say someone cheated on your homework on their homework. You wouldn't just walk up, and you know, kick them to yeet them across the room.

676
00:55:33.110 --> 00:55:36.409
Eilidh Locherty: I mean you might, but that's not realistic.

677
00:55:36.650 --> 00:55:38.009
Eilidh Locherty: A lot of the time.

678
00:55:38.840 --> 00:55:45.789
Eilidh Locherty: and you want to match those stakes to the consequences and the thing that they had done.

679
00:55:46.460 --> 00:55:52.879
Eilidh Locherty: and some and what a lot of people forget to mention or do is

680
00:55:53.190 --> 00:55:56.890
Eilidh Locherty: have that impact be whatever length

681
00:55:56.910 --> 00:56:04.649
Eilidh Locherty: it needs to be. Some people do it too quickly. Some people do it too long. You need to have that impact.

682
00:56:05.110 --> 00:56:08.689
Eilidh Locherty: And it's okay to have setbacks. It's okay to

683
00:56:08.720 --> 00:56:12.749
Eilidh Locherty: have things go backwards and forwards. Nothing's linear.

684
00:56:13.220 --> 00:56:15.540
Eilidh Locherty: Now, another part of that is

685
00:56:15.550 --> 00:56:19.114
Eilidh Locherty: using salt subal. I can't even talk today.

686
00:56:19.630 --> 00:56:20.740
Eilidh Locherty: be subtle.

687
00:56:21.080 --> 00:56:22.979
Eilidh Locherty: So you have to use subtext.

688
00:56:24.151 --> 00:56:27.940
Eilidh Locherty: You make use of emotions, body language.

689
00:56:28.420 --> 00:56:35.079
Eilidh Locherty: sometimes understating the reactions is another big part of what you want to do, because

690
00:56:35.610 --> 00:56:41.130
Eilidh Locherty: understanding things, some people don't react so boldly all the time.

691
00:56:42.070 --> 00:56:47.109
Eilidh Locherty: and another one is implying threats. So you don't sometimes

692
00:56:47.370 --> 00:56:51.100
Eilidh Locherty: specifically saying I'm going to kick you in the face

693
00:56:51.160 --> 00:56:53.200
Eilidh Locherty: isn't the right thing to do.

694
00:56:53.450 --> 00:56:57.980
Eilidh Locherty: But if you say you know. Do that one more time, I dare you.

695
00:56:58.820 --> 00:57:01.310
Eilidh Locherty: That implies something's going to happen.

696
00:57:01.620 --> 00:57:06.370
Eilidh Locherty: Now, another part of this. You don't want the resolution to be perfect.

697
00:57:06.810 --> 00:57:10.519
Eilidh Locherty: It's okay to leave some some loose ends

698
00:57:11.680 --> 00:57:21.909
Eilidh Locherty: in the long run. When it comes to, you know, fights. It's okay, for example, for a fight to be unresolved because nothing's perfect, nothing's linear.

699
00:57:24.060 --> 00:57:26.920
Eilidh Locherty: So how do we do that with dialogue?

700
00:57:27.050 --> 00:57:31.090
Eilidh Locherty: So less is more in the field of dialogue.

701
00:57:31.330 --> 00:57:41.419
Eilidh Locherty: So when it comes to that. You can use short clipped responses because that can signal frustration. Talking about pauses and silences

702
00:57:41.920 --> 00:57:44.510
Eilidh Locherty: in moderation is also okay.

703
00:57:44.720 --> 00:57:48.050
Eilidh Locherty: Unanswered questions is another. Oh.

704
00:57:49.150 --> 00:57:52.639
Eilidh Locherty: yes, I will be wrapping things up.

705
00:57:53.235 --> 00:57:59.959
Eilidh Locherty: So talking about, that is another important element, you know, using one sided conversations because that is

706
00:58:00.410 --> 00:58:04.130
Eilidh Locherty: with delayed reactions. And

707
00:58:04.820 --> 00:58:07.140
Eilidh Locherty: that is another big part of

708
00:58:08.750 --> 00:58:09.569
Eilidh Locherty: you know.

709
00:58:09.980 --> 00:58:11.840
Eilidh Locherty: arguments especially.

710
00:58:12.090 --> 00:58:13.810
Eilidh Locherty: and it could be a power struggle.

711
00:58:17.980 --> 00:58:20.089
Eilidh Locherty: So a big part of the.

712
00:58:20.090 --> 00:58:34.279
Tom Wilde: Haley. I was just gonna sorry, I said, don't don't worry. We can. We can go over the hour. That's absolutely fine. I just wanted to reassure and just say, we don't have to finish on the hour, so don't don't rush. There's some great stuff here, and I don't want you to feel like you've got a rush.

713
00:58:34.280 --> 00:58:37.869
Eilidh Locherty: I planned it so long, but then I got nervous.

714
00:58:37.870 --> 00:58:38.890
Tom Wilde: Yeah. No.

715
00:58:38.890 --> 00:58:39.260
Eilidh Locherty: I

716
00:58:39.630 --> 00:58:48.220
Tom Wilde: Had those delays at the beginning. So that's fine. But obviously anyone who can't stick around for longer than the hour you'll be able to pick up the replay on the hub. But yeah.

717
00:58:48.220 --> 00:58:51.959
Eilidh Locherty: I also have these slides available for anybody who would like them.

718
00:58:51.960 --> 00:58:57.340
Tom Wilde: And the other thing I was going to say, and and if you're happy to do this is we can

719
00:58:57.530 --> 00:59:05.170
Tom Wilde: provide a spreadsheet of all the questions that we've asked today, and we can answer them and upload those answers to the hub. So if we don't have time.

720
00:59:05.170 --> 00:59:07.419
Eilidh Locherty: Yeah. Good idea. I don't. I'm fine.

721
00:59:07.720 --> 00:59:16.980
Tom Wilde: But it's great, fascinating stuff, and some great questions and great interaction. I'm going to leave you, too. I just wanted to reassure you. Don't worry about overrunning, that's all fine.

722
00:59:17.830 --> 00:59:26.190
Eilidh Locherty: I'm a stickler for not wanting to go overtime, and so I'm getting stressed out, knowing that I've actually went over.

723
00:59:27.413 --> 00:59:28.940
Tom Wilde: It's fine.

724
00:59:30.230 --> 00:59:31.850
Tom Wilde: the content!

725
00:59:32.000 --> 00:59:33.250
Tom Wilde: I'll leave it there.

726
00:59:33.390 --> 00:59:37.159
Eilidh Locherty: Thank you so much. Okay, so what is high stress.

727
00:59:38.190 --> 00:59:46.059
Eilidh Locherty: high stress situations is when there's intense pressure filled moments where characters are pushed to the limit.

728
00:59:46.260 --> 00:59:51.760
Eilidh Locherty: So be it emotionally, physically, or mentally. That is how conflict can.

729
00:59:53.160 --> 00:59:56.900
Eilidh Locherty: Yes, before your eyes. Where

730
00:59:56.950 --> 00:59:58.360
Eilidh Locherty: pension.

731
00:59:58.880 --> 01:00:02.399
Eilidh Locherty: you know, can actually drive the plot even further.

732
01:00:02.420 --> 01:00:05.029
Eilidh Locherty: So it escalates the tension

733
01:00:05.230 --> 01:00:07.970
Eilidh Locherty: it can reveal how

734
01:00:08.080 --> 01:00:09.730
Eilidh Locherty: a character is.

735
01:00:09.780 --> 01:00:22.800
Eilidh Locherty: you know, really is, maybe they're manipulating people, and they don't react under stress. See, I don't react well under stress in certain situations. But at the same time

736
01:00:22.900 --> 01:00:25.720
Eilidh Locherty: it can actually push people to be more confident.

737
01:00:26.260 --> 01:00:28.670
Eilidh Locherty: I get more confident when under pressure.

738
01:00:28.890 --> 01:00:31.460
Eilidh Locherty: But I also get nervous right at the beginning.

739
01:00:32.450 --> 01:00:37.250
Eilidh Locherty: Another good example is how some people, when going under pressure, might cry.

740
01:00:37.480 --> 01:00:42.319
Eilidh Locherty: they might get really flustered. They might end up

741
01:00:42.390 --> 01:00:45.169
Eilidh Locherty: panicking. They might forget certain things.

742
01:00:45.500 --> 01:00:46.590
Eilidh Locherty: They might.

743
01:00:47.040 --> 01:00:47.910
Eilidh Locherty: you know.

744
01:00:48.250 --> 01:00:49.819
Eilidh Locherty: be okay.

745
01:00:50.040 --> 01:00:52.520
Eilidh Locherty: and they might mask that.

746
01:00:52.570 --> 01:00:56.339
Eilidh Locherty: But it depends on how high this emotion can be.

747
01:00:58.351 --> 01:01:00.959
Eilidh Locherty: Now messy choices can lead

748
01:01:01.130 --> 01:01:02.519
Eilidh Locherty: to bigger.

749
01:01:02.760 --> 01:01:04.330
Eilidh Locherty: bigger problems.

750
01:01:04.400 --> 01:01:07.030
Eilidh Locherty: And that's why that level of

751
01:01:07.160 --> 01:01:09.990
Eilidh Locherty: having that element of

752
01:01:10.740 --> 01:01:12.980
Eilidh Locherty: stakes be important.

753
01:01:13.450 --> 01:01:18.150
Eilidh Locherty: Yes, they might drop a lot of F bombs, and I'm trying not to do that myself.

754
01:01:20.820 --> 01:01:23.220
Eilidh Locherty: so it raises the stakes.

755
01:01:23.610 --> 01:01:24.710
Eilidh Locherty: and

756
01:01:24.850 --> 01:01:27.970
Eilidh Locherty: bigger consequences are

757
01:01:28.160 --> 01:01:29.215
Eilidh Locherty: very.

758
01:01:30.390 --> 01:01:32.480
Eilidh Locherty: It's a difficult one to say.

759
01:01:32.540 --> 01:01:35.800
Eilidh Locherty: because when it comes to

760
01:01:36.400 --> 01:01:40.319
Eilidh Locherty: problems it depends on the character and what they do.

761
01:01:40.880 --> 01:01:55.410
Eilidh Locherty: and it can boost internal conflict and forces that confrontation as well as unpredictable air, stress infection, high stakes, emotional explosions, making for a wild engagement story.

762
01:01:55.670 --> 01:01:57.769
Eilidh Locherty: and also chaos.

763
01:01:57.870 --> 01:01:58.890
Eilidh Locherty: Because

764
01:01:59.020 --> 01:02:00.530
Eilidh Locherty: who doesn't like chaos.

765
01:02:01.650 --> 01:02:02.500
Eilidh Locherty: No.

766
01:02:02.710 --> 01:02:14.559
Eilidh Locherty: there's a lot of different kinds of stress. So there's life or death betrayal loved ones, public humiliation, financial ruin, and impending doom. That type of thing.

767
01:02:17.230 --> 01:02:19.430
Eilidh Locherty: Divergent is one of them. So

768
01:02:19.740 --> 01:02:23.050
Eilidh Locherty: with that, there's a deadly initiation

769
01:02:23.390 --> 01:02:26.100
Eilidh Locherty: where that way they're, you know.

770
01:02:26.270 --> 01:02:31.890
Eilidh Locherty: facing life-threatening, physical and psychological tests throughout the initiation.

771
01:02:31.900 --> 01:02:33.140
Eilidh Locherty: Now there's that

772
01:02:33.210 --> 01:02:35.180
Eilidh Locherty: fear element of

773
01:02:36.040 --> 01:02:41.810
Eilidh Locherty: Oh, my God! I might become factionless. I do not know what to do.

774
01:02:42.100 --> 01:02:43.180
Eilidh Locherty: because

775
01:02:43.250 --> 01:02:50.670
Eilidh Locherty: I don't. I'm not. I'm not. You know of negation. I am not. Don't list. I am divergent.

776
01:02:52.150 --> 01:02:55.510
Eilidh Locherty: And so another element of that is

777
01:02:55.620 --> 01:02:56.630
Eilidh Locherty: the

778
01:02:57.080 --> 01:02:58.919
Eilidh Locherty: the high stakes

779
01:02:59.250 --> 01:03:03.450
Eilidh Locherty: makes each challenge feel more dangerous and more

780
01:03:03.820 --> 01:03:04.900
Eilidh Locherty: scary.

781
01:03:06.050 --> 01:03:10.499
Eilidh Locherty: Now, physical combat is another part of that, because there's a lot of fights.

782
01:03:10.770 --> 01:03:15.990
Eilidh Locherty: And in this Dystopian society, which is a subgenre of sci-fi

783
01:03:16.618 --> 01:03:20.390
Eilidh Locherty: it is controlling. And of course, with

784
01:03:21.260 --> 01:03:23.870
Eilidh Locherty: this element of sci-fi.

785
01:03:24.110 --> 01:03:29.950
Eilidh Locherty: there's a whole world where there's a lot of world building, and

786
01:03:30.990 --> 01:03:37.860
Eilidh Locherty: it's very controlling, which is terrifying for everybody, because sometimes you don't know.

787
01:03:38.140 --> 01:03:41.239
Eilidh Locherty: you know, who to trust, especially with the power struggle.

788
01:03:42.070 --> 01:03:43.190
Eilidh Locherty: No.

789
01:03:43.260 --> 01:03:45.129
Eilidh Locherty: there's an impending war

790
01:03:45.613 --> 01:03:48.719
Eilidh Locherty: especially when it comes to, you know.

791
01:03:49.460 --> 01:03:54.280
Eilidh Locherty: each faction's different. And then, you know, there's divergent people hiding.

792
01:03:54.410 --> 01:03:58.889
Eilidh Locherty: and that's a big, scary thing for people in

793
01:03:59.820 --> 01:04:07.359
Eilidh Locherty: that world who are divergent because they could die, or they could be kidnapped, depending on what use they were.

794
01:04:11.480 --> 01:04:18.279
Eilidh Locherty: Another part of that is. Now this is another novel that I was wanting to talk about earlier

795
01:04:18.300 --> 01:04:25.329
Eilidh Locherty: when it came to the conflict was because the Time Traveller's Wife is another great example of man versus time.

796
01:04:25.350 --> 01:04:27.270
Eilidh Locherty: because time traveler's wife.

797
01:04:27.390 --> 01:04:28.260
Eilidh Locherty: Now

798
01:04:28.600 --> 01:04:38.000
Eilidh Locherty: the unpredictable nature of Henry, was really uncontrollable, and this was stressful for Claire because of the level of

799
01:04:38.340 --> 01:04:41.560
Eilidh Locherty: you know, he was gone 1 min and back the next.

800
01:04:42.220 --> 01:04:46.839
Eilidh Locherty: and you know he's going back to times where he he was really young.

801
01:04:47.120 --> 01:04:50.230
Eilidh Locherty: to times where she was really old.

802
01:04:50.320 --> 01:04:54.900
Eilidh Locherty: to times where, you know, they were on present day, which was really stressful for them.

803
01:04:55.660 --> 01:05:00.460
Eilidh Locherty: Now that caused a lot of emotional strain because she was stressed out

804
01:05:00.770 --> 01:05:05.999
Eilidh Locherty: being left behind, not knowing when they were going to go. When they were going to come back.

805
01:05:06.040 --> 01:05:09.159
Eilidh Locherty: It was gonna be in random times.

806
01:05:09.680 --> 01:05:14.330
Eilidh Locherty: and that unpredictability was terrifying. Because

807
01:05:14.780 --> 01:05:21.399
Eilidh Locherty: could you imagine them coming back, you know, at the wedding? And there's a way to. He's a way to be like, however old.

808
01:05:21.830 --> 01:05:23.110
Eilidh Locherty: or, you know.

809
01:05:23.660 --> 01:05:28.710
Eilidh Locherty: insert thing here that I'm probably not going to be allowed to mention here.

810
01:05:30.334 --> 01:05:34.120
Eilidh Locherty: But there's a lot of foreshadowing with the death because of

811
01:05:34.510 --> 01:05:40.119
Eilidh Locherty: the time. Travelling causes him to have that threat loomed regarding his death.

812
01:05:40.200 --> 01:05:43.159
Eilidh Locherty: That is a very terrifying element of

813
01:05:44.150 --> 01:05:45.180
Eilidh Locherty: his

814
01:05:45.630 --> 01:05:46.880
Eilidh Locherty: story.

815
01:05:46.960 --> 01:05:48.750
Eilidh Locherty: because of

816
01:05:48.940 --> 01:05:53.679
Eilidh Locherty: the worry of he's going to die eventually. When's that going to be? And why

817
01:05:55.120 --> 01:06:02.289
Eilidh Locherty: now, another novel that I really enjoy? Now, this is one of my favorite series actually is the charmee series.

818
01:06:02.350 --> 01:06:10.410
Eilidh Locherty: and the reason I love it so much is because of the level of high stress situation, because of the kept in captivity and

819
01:06:10.570 --> 01:06:15.479
Eilidh Locherty: isolation that Juliet witnesses and experiences

820
01:06:15.580 --> 01:06:23.780
Eilidh Locherty: because of the fact that because of her powers she's been locked up, and that is terrifying for her because of the

821
01:06:24.210 --> 01:06:26.570
Eilidh Locherty: internal struggle. That is

822
01:06:26.780 --> 01:06:29.770
Eilidh Locherty: that she doesn't know when she's going to get out.

823
01:06:30.150 --> 01:06:33.610
Eilidh Locherty: Now, another big part of that is the fact that

824
01:06:33.770 --> 01:06:36.679
Eilidh Locherty: because of the escape attempts.

825
01:06:36.740 --> 01:06:47.570
Eilidh Locherty: It builds that suspense and that fear. We don't know whether or not she's going to make it. We don't know whether or not she's going to be okay, happy, or anything like that, because

826
01:06:48.450 --> 01:06:53.039
Eilidh Locherty: we don't know what's on the other side of the door.

827
01:06:53.470 --> 01:07:02.010
Eilidh Locherty: We don't know who's going to be there, and we don't know whether or not we don't, because of how long she's in captivity. We don't know

828
01:07:02.320 --> 01:07:04.299
Eilidh Locherty: how she's going to be at the end of the day.

829
01:07:04.600 --> 01:07:05.680
Eilidh Locherty: Because

830
01:07:06.260 --> 01:07:08.720
Eilidh Locherty: think of it this way with prison

831
01:07:08.930 --> 01:07:15.299
Eilidh Locherty: and imprisonment, when you're locked up for so long you don't know how long you're going to acclimatize to

832
01:07:15.330 --> 01:07:16.440
Eilidh Locherty: that world

833
01:07:16.660 --> 01:07:21.820
Eilidh Locherty: which is another great element of that high stress and building tension and conflict.

834
01:07:21.840 --> 01:07:27.050
Eilidh Locherty: Because a good element of this is, how are they going to

835
01:07:27.060 --> 01:07:30.249
Eilidh Locherty: live. And how are they going to react

836
01:07:30.280 --> 01:07:35.740
Eilidh Locherty: to being in a world that has changed in the last, however long.

837
01:07:36.100 --> 01:07:43.509
Eilidh Locherty: which is another good element of building this panic fear that tension and that excitement for some.

838
01:07:44.460 --> 01:07:45.690
Eilidh Locherty: So

839
01:07:46.570 --> 01:07:50.370
Eilidh Locherty: the next thing I would like to talk about is

840
01:07:51.210 --> 01:07:54.559
Eilidh Locherty: the do's and don'ts for high stress situations.

841
01:07:54.770 --> 01:08:07.579
Eilidh Locherty: So you want to let people freeze up. That is okay. It's okay for people to freeze up. It's okay for them to have human responses or on human responses. When it comes to

842
01:08:07.810 --> 01:08:11.899
Eilidh Locherty: tension on whatever it may be. Because

843
01:08:12.700 --> 01:08:16.529
Eilidh Locherty: think, everyone has a certain reaction to certain things.

844
01:08:17.109 --> 01:08:22.790
Eilidh Locherty: And it's okay to respond. How that character would respond because

845
01:08:22.810 --> 01:08:28.419
Eilidh Locherty: the big part of realism is, how would it? How would someone react

846
01:08:28.660 --> 01:08:30.249
Eilidh Locherty: as that character?

847
01:08:31.029 --> 01:08:33.650
Eilidh Locherty: And how realistic would it be for them.

848
01:08:33.930 --> 01:08:36.519
Eilidh Locherty: So you want to create that false hope.

849
01:08:36.580 --> 01:08:42.109
Eilidh Locherty: Give them that hope at the end of the tunnel they will get out of this.

850
01:08:42.529 --> 01:08:43.569
Eilidh Locherty: and then.

851
01:08:46.890 --> 01:08:47.660
Eilidh Locherty: no.

852
01:08:47.910 --> 01:08:50.030
Eilidh Locherty: that's not what's happening. Not today.

853
01:08:51.109 --> 01:08:55.290
Eilidh Locherty: And then they'll have to devise this other option

854
01:08:55.410 --> 01:09:00.740
Eilidh Locherty: to get to what they want to do. Now, this works for the big overall tension.

855
01:09:01.010 --> 01:09:08.209
Eilidh Locherty: but also the small ones. So the little conflicts, the little tensions that is in a novel.

856
01:09:08.420 --> 01:09:16.319
Eilidh Locherty: Now you want to blur the line between right and wrong. It's okay to have a morally gray character or say, a

857
01:09:17.380 --> 01:09:26.629
Eilidh Locherty: good character, a, you know, a chaotic good character. Do something evil, because it's okay to blur that line between right and wrong.

858
01:09:26.680 --> 01:09:34.900
Eilidh Locherty: It's okay to have a bad character do something good because it can actually cause confusion for the readers.

859
01:09:35.189 --> 01:09:39.189
Eilidh Locherty: and it will then mean that people are like, Oh, what's next?

860
01:09:39.950 --> 01:09:43.130
Eilidh Locherty: And you want to make use of that character focus

861
01:09:43.359 --> 01:09:45.100
Eilidh Locherty: on the wrong thing.

862
01:09:45.319 --> 01:09:48.629
Eilidh Locherty: It's okay to give them that sensory overload.

863
01:09:49.040 --> 01:09:54.329
Eilidh Locherty: So that way, they're like, Oh, what's going on? And it causes them that level of stress.

864
01:09:54.670 --> 01:09:57.290
Eilidh Locherty: Now, what do we not want to do?

865
01:09:57.320 --> 01:10:01.610
Eilidh Locherty: We don't want to resolve stress too quickly or too slow.

866
01:10:01.680 --> 01:10:06.349
Eilidh Locherty: depending on the conflict depends on how realistic it is for

867
01:10:06.880 --> 01:10:10.980
Eilidh Locherty: people to kind of get over it if you will, or

868
01:10:12.390 --> 01:10:13.610
Eilidh Locherty: getting

869
01:10:14.070 --> 01:10:14.940
Eilidh Locherty: heel.

870
01:10:15.070 --> 01:10:17.049
Eilidh Locherty: it's easier to heal.

871
01:10:17.180 --> 01:10:22.119
Eilidh Locherty: and every character will be different in how the level of healing they'll have.

872
01:10:22.230 --> 01:10:24.600
Eilidh Locherty: For example, someone might

873
01:10:24.640 --> 01:10:26.170
Eilidh Locherty: be okay with.

874
01:10:26.480 --> 01:10:30.259
Eilidh Locherty: you know, someone dying after, say, a month.

875
01:10:30.490 --> 01:10:33.009
Eilidh Locherty: But someone might not after a year.

876
01:10:33.070 --> 01:10:38.840
Eilidh Locherty: And it's okay, because that's what makes that person realistic because each character is different.

877
01:10:39.020 --> 01:10:50.429
Eilidh Locherty: Now, you don't want to make that character perfect. You want to make sure that they've got flaws they've got, you know, little things that make people squirm, and, you know, get annoyed.

878
01:10:51.390 --> 01:10:54.970
Eilidh Locherty: but don't make any everything too easy or hard, either.

879
01:10:55.040 --> 01:10:57.590
Eilidh Locherty: because you don't want things

880
01:10:57.660 --> 01:11:06.459
Eilidh Locherty: to be too easy in in the realm of, you know. A fight. Oh, it's too easy. People might get bored if it's too hard.

881
01:11:07.090 --> 01:11:10.570
Eilidh Locherty: It wouldn't be realistic if they survived. In that instance.

882
01:11:10.710 --> 01:11:12.959
Eilidh Locherty: You don't want to over explain anything.

883
01:11:13.200 --> 01:11:14.470
Eilidh Locherty: because

884
01:11:14.990 --> 01:11:21.609
Eilidh Locherty: the balance of tension and high stress situations is wording it so that way

885
01:11:21.720 --> 01:11:23.380
Eilidh Locherty: you can do it

886
01:11:23.410 --> 01:11:24.679
Eilidh Locherty: in a way

887
01:11:24.870 --> 01:11:25.960
Eilidh Locherty: that

888
01:11:26.010 --> 01:11:28.010
Eilidh Locherty: just smooths over.

889
01:11:28.540 --> 01:11:32.819
Eilidh Locherty: and then they'll understand it without you explaining it too much.

890
01:11:33.820 --> 01:11:37.280
Eilidh Locherty: Now you don't want to ignore the long term effects of

891
01:11:37.400 --> 01:11:40.599
Eilidh Locherty: the stress, as I mentioned before, because.

892
01:11:40.660 --> 01:11:47.820
Eilidh Locherty: realistically, people will say, for example, if they broke their leg they wouldn't be walking on it again without, say, an aid.

893
01:11:47.960 --> 01:11:49.290
Eilidh Locherty: 2 days later

894
01:11:49.440 --> 01:11:57.069
Eilidh Locherty: you want to make sure that the realistic thing is that for whatever world that you're in. You have a realistic effect

895
01:11:57.210 --> 01:11:58.700
Eilidh Locherty: for that thing.

896
01:11:58.910 --> 01:12:05.719
Eilidh Locherty: and don't forget your secondary characters. They will react to certain things that you do

897
01:12:05.730 --> 01:12:07.520
Eilidh Locherty: or say. The protagonist does.

898
01:12:08.530 --> 01:12:14.740
Eilidh Locherty: they will react to things that happen if it will affect them in terms of the stress as well.

899
01:12:14.810 --> 01:12:16.819
Eilidh Locherty: And that is a big part of

900
01:12:18.270 --> 01:12:20.779
Eilidh Locherty: what makes stress really important.

901
01:12:21.090 --> 01:12:21.970
Eilidh Locherty: No

902
01:12:22.410 --> 01:12:23.720
Eilidh Locherty: editing

903
01:12:24.340 --> 01:12:35.850
Eilidh Locherty: what I want to talk about now now, this is the final stretch is fine tuning conflict and tension, and making sure that it's the best you can be before you hand it over to

904
01:12:35.920 --> 01:12:42.380
Eilidh Locherty: prowriting aid to help you with self editing, because I am a big user of prowriting aid with fine tuning.

905
01:12:42.620 --> 01:12:48.849
Eilidh Locherty: And then obviously an editor, if that is something that you're going to do in the next stage.

906
01:12:49.040 --> 01:12:50.830
Eilidh Locherty: or say a better, reader.

907
01:12:51.940 --> 01:12:53.060
Eilidh Locherty: No.

908
01:12:53.610 --> 01:12:57.254
Eilidh Locherty: that's little latte. There, that's my little business, Buddy.

909
01:12:57.920 --> 01:13:01.649
Eilidh Locherty: So you don't want to rush into conflict?

910
01:13:02.939 --> 01:13:10.690
Eilidh Locherty: So if we don't know them yet, why do we care? So you want to make sure that you build on

911
01:13:10.790 --> 01:13:12.690
Eilidh Locherty: everything that you're saying?

912
01:13:13.720 --> 01:13:18.240
Eilidh Locherty: Build, build. You want to make sure there's a reason behind everything.

913
01:13:18.480 --> 01:13:20.470
Eilidh Locherty: So you want to get invested.

914
01:13:21.490 --> 01:13:22.970
Eilidh Locherty: Then drop that

915
01:13:23.750 --> 01:13:26.040
Eilidh Locherty: metaphorical bomb

916
01:13:27.420 --> 01:13:28.570
Eilidh Locherty: and then

917
01:13:29.010 --> 01:13:30.640
Eilidh Locherty: make it painful for them.

918
01:13:31.980 --> 01:13:40.960
Eilidh Locherty: as you can probably tell by now. I like causing characters pain? So when you write a scene, you want to set back, you need to take a break

919
01:13:41.090 --> 01:13:45.190
Eilidh Locherty: and make sure that you're squeezing everything you want to get out of it.

920
01:13:46.260 --> 01:13:50.669
Eilidh Locherty: because you don't want things to be too easy. You don't want to lose momentum

921
01:13:51.210 --> 01:13:54.240
Eilidh Locherty: and think of a mystery if they find clues, who easily.

922
01:13:54.510 --> 01:13:59.650
Eilidh Locherty: Where's the fun? And how are you going to make it interesting for the characters moving forward?

923
01:14:00.800 --> 01:14:09.680
Eilidh Locherty: So when you ramp up the stakes. You want to make sure that you don't resolve things too quickly. It's better to give them little pieces here and there.

924
01:14:09.830 --> 01:14:12.620
Eilidh Locherty: and then let things kind of go from there.

925
01:14:13.610 --> 01:14:15.120
Eilidh Locherty: Oh, there we go.

926
01:14:16.670 --> 01:14:20.130
Eilidh Locherty: and I'm not having much luck with Canva at the moment.

927
01:14:20.740 --> 01:14:23.789
Eilidh Locherty: No editing my favorite part.

928
01:14:25.520 --> 01:14:26.300
Eilidh Locherty: So

929
01:14:26.570 --> 01:14:29.449
Eilidh Locherty: you want to make sure you cut necessary scenes.

930
01:14:29.480 --> 01:14:31.520
Eilidh Locherty: So that's a big part. So

931
01:14:31.660 --> 01:14:35.329
Eilidh Locherty: even though I'm not a developmental editor, a big part of

932
01:14:35.610 --> 01:14:43.170
Eilidh Locherty: what I do when I read novels is, make sure that each scene is still necessary, because, even though I'm not a development

933
01:14:43.750 --> 01:14:45.980
Eilidh Locherty: developmental editor.

934
01:14:46.310 --> 01:14:55.890
Eilidh Locherty: it's still a big part of my job to make sure that each line makes sense for the novel. Now you want to review each scene

935
01:14:56.370 --> 01:14:59.619
Eilidh Locherty: and make sure that conflict makes sense for your store

936
01:14:59.920 --> 01:15:01.439
Eilidh Locherty: doesn't make sense.

937
01:15:01.530 --> 01:15:04.200
Eilidh Locherty: Is it important? Will it move the plot forward

938
01:15:04.650 --> 01:15:12.359
Eilidh Locherty: if it doesn't introduce or escalate tension? Or if it doesn't make sense for this character or the store cut out.

939
01:15:12.890 --> 01:15:18.230
Eilidh Locherty: Now you want to tighten pacing, so look for the spots where things drag.

940
01:15:18.310 --> 01:15:22.680
Eilidh Locherty: You want to cut long and unnecessary descriptions out

941
01:15:23.000 --> 01:15:30.390
Eilidh Locherty: one thing. If you're going to take anything away from this talk, I want you

942
01:15:30.550 --> 01:15:35.160
Eilidh Locherty: to think to yourself while you're editing while you're writing. Is this scene.

943
01:15:36.220 --> 01:15:37.470
Eilidh Locherty: Important

944
01:15:37.680 --> 01:15:39.100
Eilidh Locherty: to the store.

945
01:15:39.630 --> 01:15:47.409
Eilidh Locherty: Is this scene going to be something that will very much be something that you need to have

946
01:15:47.750 --> 01:15:54.230
Eilidh Locherty: in the novel for the tension or insert, seen here to make sense.

947
01:15:54.860 --> 01:16:04.699
Eilidh Locherty: Now you want to balance that action with the ruffle action. Now it's great and fun to see the element of how tense, and.

948
01:16:04.900 --> 01:16:05.859
Eilidh Locherty: you know.

949
01:16:06.420 --> 01:16:14.420
Eilidh Locherty: terrifying for some instances, how that could be exciting. But you need to make sure that you go back.

950
01:16:14.690 --> 01:16:16.710
Eilidh Locherty: And for that character.

951
01:16:16.720 --> 01:16:20.069
Eilidh Locherty: Are they going to reflect on these things

952
01:16:20.080 --> 01:16:26.359
Eilidh Locherty: and respond in the way that they would respond realistically because a lot of the time

953
01:16:26.750 --> 01:16:31.669
Eilidh Locherty: it's great to have that action. But some people do forget to bring in

954
01:16:31.760 --> 01:16:43.149
Eilidh Locherty: that reflection and that thing to mean that you push that thing forward and the character development, because character development is a big part of conflict and tension.

955
01:16:44.110 --> 01:16:53.930
Eilidh Locherty: Now, as you edit, ask if the stakes are clear and high enough throughout the story, make sure that even in the middle of the story that it makes sense, and that

956
01:16:54.740 --> 01:16:58.570
Eilidh Locherty: if there's anything that you should remove or clarify.

957
01:16:58.640 --> 01:17:01.060
Eilidh Locherty: do it because it's really important.

958
01:17:01.420 --> 01:17:04.449
Eilidh Locherty: and at the end of the day there's not enough.

959
01:17:04.460 --> 01:17:06.999
Eilidh Locherty: There's not too much sticks

960
01:17:07.570 --> 01:17:10.480
Eilidh Locherty: as long as it makes sense for that character.

961
01:17:12.190 --> 01:17:12.990
Eilidh Locherty: No.

962
01:17:14.740 --> 01:17:19.670
Eilidh Locherty: I can promise you. This is the last few things last few bits

963
01:17:20.250 --> 01:17:21.770
Eilidh Locherty: spot the difference.

964
01:17:23.440 --> 01:17:26.409
Eilidh Locherty: Gun walked down the hallway, feeling uneasy.

965
01:17:26.470 --> 01:17:30.240
Eilidh Locherty: she grabbed the doorknob and opened the door. It was dark inside.

966
01:17:30.470 --> 01:17:33.230
Eilidh Locherty: She stepped forward and the floor creaked.

967
01:17:34.020 --> 01:17:39.840
Eilidh Locherty: The next one is June. Tiptoe toed down the hallway, her pulse quickening with each step.

968
01:17:40.140 --> 01:17:42.560
Eilidh Locherty: The air was thick. Stifling.

969
01:17:43.120 --> 01:17:53.890
Eilidh Locherty: Her trembling fingers hovered over the doorknob. She twisted it slowly. The door creaked, darkness spilling out like a warning. She froze the floor, groaning beneath her.

970
01:17:55.130 --> 01:17:55.930
Eilidh Locherty: If

971
01:17:56.230 --> 01:17:57.580
Eilidh Locherty: anybody

972
01:17:58.180 --> 01:18:00.270
Eilidh Locherty: is feeling confident.

973
01:18:01.250 --> 01:18:05.360
Eilidh Locherty: which version do you prefer

974
01:18:05.940 --> 01:18:07.409
Eilidh Locherty: with the description?

975
01:18:12.620 --> 01:18:13.579
Eilidh Locherty: The second one.

976
01:18:16.770 --> 01:18:18.350
Eilidh Locherty: I I agree.

977
01:18:20.070 --> 01:18:26.240
Eilidh Locherty: Yeah. Now, the reason why, this is a very big part of why.

978
01:18:26.280 --> 01:18:29.200
Eilidh Locherty: it's better. And

979
01:18:32.040 --> 01:18:34.329
Eilidh Locherty: looking at the comments here.

980
01:18:34.890 --> 01:18:49.990
Eilidh Locherty: Yes, Pat Rick, it is slightly overwritten, but I did that on purpose just to make the signs obvious in terms of the description. A big part of editing would be to cut down to make sure that that tension is

981
01:18:50.040 --> 01:18:51.060
Eilidh Locherty: heightened.

982
01:18:51.310 --> 01:19:00.280
Eilidh Locherty: but better in terms of the writing of it. But I agree the second is better because of the level of description.

983
01:19:01.050 --> 01:19:02.200
Eilidh Locherty: Second one.

984
01:19:02.290 --> 01:19:07.080
Eilidh Locherty: John glared at Mark. I can't believe you went went behind my back.

985
01:19:07.440 --> 01:19:08.680
Eilidh Locherty: Adam shrugged.

986
01:19:09.150 --> 01:19:13.760
Eilidh Locherty: Didn't think it was a big deal. John clenches fist. Well, it is

987
01:19:14.210 --> 01:19:15.560
Eilidh Locherty: second example.

988
01:19:15.670 --> 01:19:20.790
Eilidh Locherty: John's fist curled. You went behind my back. His voice was tight, barely controlled.

989
01:19:21.280 --> 01:19:27.579
Eilidh Locherty: Mark leaned back, a smirk playing on his lips. You weren't handling it. John's breath hitched. I trusted you.

990
01:19:28.590 --> 01:19:30.290
Eilidh Locherty: What would you prefer

991
01:19:32.730 --> 01:19:36.799
Eilidh Locherty: or not only prefer, but which one shows

992
01:19:37.300 --> 01:19:39.859
Eilidh Locherty: the emotion and the tension a bit more.

993
01:19:51.190 --> 01:19:52.110
Eilidh Locherty: Okay.

994
01:20:00.460 --> 01:20:02.569
Eilidh Locherty: that is a very good point.

995
01:20:03.110 --> 01:20:05.160
Eilidh Locherty: I'd like to point this out that

996
01:20:05.230 --> 01:20:10.200
Eilidh Locherty: this is a very good point. Both do show different kinds of emotions.

997
01:20:10.420 --> 01:20:13.469
Eilidh Locherty: Now, it depends on how?

998
01:20:13.570 --> 01:20:15.130
Eilidh Locherty: No, in this instance

999
01:20:16.280 --> 01:20:20.519
Eilidh Locherty: it depends on the motion that you're trying to dictate.

1000
01:20:22.510 --> 01:20:27.560
Eilidh Locherty: Now, are you trying to show more anger? Are you trying to show more upset.

1001
01:20:28.050 --> 01:20:31.209
Eilidh Locherty: Are you trying to show more tension, or are you just trying to

1002
01:20:31.460 --> 01:20:33.970
Eilidh Locherty: just be open and honest?

1003
01:20:34.090 --> 01:20:39.079
Eilidh Locherty: Now, there's no right answer here because of the fact

1004
01:20:39.120 --> 01:20:43.980
Eilidh Locherty: that both of them show 2 different kinds of emotions in 2 different ways.

1005
01:20:44.570 --> 01:20:50.450
Eilidh Locherty: There's no wrong or right answer in terms of any of these, I just put these.

1006
01:20:51.050 --> 01:20:52.230
Eilidh Locherty: Yes.

1007
01:21:01.720 --> 01:21:02.500
Eilidh Locherty: Oh.

1008
01:21:03.250 --> 01:21:06.899
Eilidh Locherty: now this is why proofreading is important. I was meant to put Adam inside of Mark.

1009
01:21:10.640 --> 01:21:23.920
Eilidh Locherty: Even a proof. Even an editor needs an editor. Everybody take that away from this entire talk. Please please make that from this talk. Even an editor needs an editor.

1010
01:21:24.150 --> 01:21:26.129
Eilidh Locherty: Mark is Adam.

1011
01:21:30.170 --> 01:21:31.120
Eilidh Locherty: Yeah.

1012
01:21:31.530 --> 01:21:38.109
Eilidh Locherty: yes. So either way, both of them are correct. It just depends on the emotion that you're trying to convey

1013
01:21:38.730 --> 01:21:40.709
Eilidh Locherty: no last one.

1014
01:21:40.780 --> 01:21:44.100
Eilidh Locherty: Sarah crossed her arms. Now I hope that I've not put any more.

1015
01:21:46.360 --> 01:21:48.000
Eilidh Locherty: Yes, I have, have I?

1016
01:21:48.420 --> 01:21:49.599
Eilidh Locherty: Yes, I have. I'm just

1017
01:21:50.160 --> 01:21:51.180
Eilidh Locherty: my God.

1018
01:21:53.120 --> 01:21:54.670
Eilidh Locherty: we're not doing that one.

1019
01:21:55.913 --> 01:21:57.519
Eilidh Locherty: Remember, guys.

1020
01:21:58.424 --> 01:22:02.669
Eilidh Locherty: Conflict and tension is a big part of the story.

1021
01:22:04.280 --> 01:22:09.149
Eilidh Locherty: Yes, perfecting is the editor's best friend, and there's a reason for that.

1022
01:22:10.620 --> 01:22:24.169
Eilidh Locherty: Fiction is very important to have conflict and tension, regardless of the storm. And you want to make sure that you use pacing body language, emotional depth in order to keep the tension going.

1023
01:22:24.560 --> 01:22:25.510
Eilidh Locherty: No

1024
01:22:25.850 --> 01:22:33.430
Eilidh Locherty: use stakes, use internal conflict, external conflict, non verbal cues, subtle details, tonal shifts.

1025
01:22:34.310 --> 01:22:47.180
Eilidh Locherty: and you need to make sure at the end of the day. Everything is personal for that specific character. What might be important to one character might not be for a specific side character which might also bring some tension.

1026
01:22:49.560 --> 01:22:56.060
Eilidh Locherty: Now, usually this is where we'd say Q. And a. But I am very mindful of the time.

1027
01:22:56.370 --> 01:22:58.499
Eilidh Locherty: so I will leave it there.

1028
01:22:59.610 --> 01:23:01.229
Eilidh Locherty: Last thing

1029
01:23:01.400 --> 01:23:11.890
Eilidh Locherty: I'd love to connect with you all my! My handle is down there. Chapter Advisoryo. I'm on Facebook. Instagram Tiktok sadly.

1030
01:23:12.794 --> 01:23:17.659
Eilidh Locherty: threads. I don't get along with Tiktok at all, and if you would like to connect.

1031
01:23:17.680 --> 01:23:30.620
Eilidh Locherty: I am@www.chapter range, you know.com. I am offering a discount to anybody who needs services for this year. Only 25% with the code pro ring aid

1032
01:23:30.670 --> 01:23:32.200
Eilidh Locherty: sci-fi writers week.

1033
01:23:33.460 --> 01:23:35.359
Tom Wilde: I've just added that to Chat Haley.

1034
01:23:35.360 --> 01:23:41.430
Eilidh Locherty: Oh, yes, it's that one. Yes, thank you very much. And remember, even an editor needs an editor.

1035
01:23:43.590 --> 01:23:52.259
Tom Wilde: I hey, Ailey, I want to just say a huge Thank you. I hope you didn't find the overrun too stressful. Honestly.

1036
01:23:52.260 --> 01:23:54.899
Eilidh Locherty: And stressful. I was just too anxious.

1037
01:23:54.900 --> 01:24:01.229
Tom Wilde: Yeah, no, I I totally understand that. And I can't believe that's your 1st time is just brilliant. So huge.

1038
01:24:01.681 --> 01:24:07.320
Tom Wilde: Thanks for me and and appreciation from everyone, as you can see right now in chat. Great to have you.

1039
01:24:07.320 --> 01:24:12.189
Eilidh Locherty: Overwhelmed with the support. Thank you very much for everybody who's

1040
01:24:12.470 --> 01:24:28.469
Eilidh Locherty: joined. I was keeping an eye out on the little kind of thing of you know who's interested, and I was very surprised to see the difference from the Rsvp. To now to like at the call. So I was like, Oh, oh, God! That was a big leap.

1041
01:24:28.470 --> 01:24:40.829
Tom Wilde: Yeah, yeah, off in the way, what? What we'll do? And if it's okay with you is, we will put all of the questions that have been asked in a spreadsheet and send them over to you. And

1042
01:24:41.370 --> 01:25:00.370
Tom Wilde: when you get a chance to just put some replies together, if that's okay, we'll put those in the Hub, so people can see the questions being answered in the Hub. So thank you. To those who who had questions during today's session, and thanks for everybody contributed to chat as well. It's always great to see what's going on there.

1043
01:25:00.370 --> 01:25:20.049
Tom Wilde: and the and the input and interaction going on. So yeah, thank you. Once again. Do stick around. Don't forget to join us actually, in a little over half an hour. If you want to join for the last session of today, which is with Marco Bannon. Really interesting looking session. Called the nearest stars. So hopefully

1044
01:25:20.050 --> 01:25:32.629
Tom Wilde: you'll enjoy that and the rest of Sci-fi writes this week. Thanks for signing up. Thanks for being here. But biggest thanks of all reserved for a today. Thanks, Aylie, and we'll see you again soon.

1045
01:25:33.370 --> 01:25:34.180
Eilidh Locherty: Take care!