Literary Alchemy: Ingredients of the Story – Conflict

A series designed to elevate your skills and empower you to write like a pro.

By Chrissy Hicks

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Since April is tornado season in Tennessee, it seemed a suitable time to examine this essential element of storytelling. Conflict is the struggle between opposing forces. We encounter this through mental battles and external forces.

Why use Conflict?

• A story without conflict is boring. Imagine if Yossarian never left the hospital in Joseph Heller’s Catch-22? For one, we wouldn’t have the classic novel that became a popular catchphrase. More importantly, it’d be a giant yawn. Who wants to read a story where nothing happens?

• Escalate tension and keep the reader on the edge of their seat. The type of conflict—its level of intensity—depends on genre. In literary fiction, internal struggles are often emphasized over external challenges, while in thrillers, although internal dilemmas are important, external conflict often takes center stage. Consider TJ Newman’s thriller, Falling, in which a pilot is given an impossible choice: crash his plane, killing hundreds, or witness the murder of his kidnapped family.

• Provide character insight. Internal conflict creates good use of interiority and helps us relate to characters. External conflict causes people to react, and these reactions show us their character and personality. In Michael Rigg’s Voices of the Elysian Fields, Jonathan Gray, a deputy coroner, struggles with grief over the traumatic loss of his child and anger at a broken, bureaucratic system (internal struggles), and fights through obstacles as he investigates connected events that reveals dark secrets within the city’s elite—people who will do anything to stop him (external battles).

• Art imitates life, and life is hard, complex, challenging, and conflicted. Simply put, conflict reflects real life. It’s intertwined with human experience. Not a day goes by without some sort of obstacle or difficulty, whether we like it or not. In my short story Baby’s Breath, a pregnant woman struggles to cope with an eating disorder while carrying her firstborn child, and deals with external pressure from a concerned boyfriend and the looming responsibility of motherhood. 

How and When to Use Conflict:

Conflict is the backbone of a good story. It forces characters to act; it can result from characters’ actions (or inactions), and it can come from anywhere, showing up in subtle or explicit ways. For the sake of example, I’ll split this section into two: Internal vs. External.

Internal

• Moral Dilemmas: Gray areas create drama. Bill Hoffman’s family was kidnapped—and he can do absolutely nothing about it because he’s flying a plane. But that’s not his biggest problem! The major conflict comes from the abductor’s ultimatum: the only way to save his family is to crash the plane. (Falling). 

Granted, not all moral dilemmas are this extreme. Take, for example, a young pregnant woman struggling with bulimia. A recent visit to the doctor reveals she’s losing weight. She promises she’ll eat more, but can’t overcome the bulimic urges, despite her desire to care for her unborn child. (Baby’s Breath). 

• Identity crises: Self-image, beliefs, and desires can create enough conflict to fill volumes. Yossarian constantly searches for connection and meaning in the face of war. In the chaos, he grapples with his identity as a soldier while overcome by fear. (Catch-22).

• Emotional struggles: Conflict reminds us we are less in control that we’d like to be, and some people will go to great lengths to avoid it. Instead of dealing with her past, Bella copes by bingeing and purging. “I’d been fine on my own, had everything under control, a high honors student on a fast track to pharmacy school; my bingeing and purging episodes perfectly strategized.” But the statement alone is contradictory—despite trying to convince herself and others she’s fine, Bella’s less in control that she believes. (Baby’s Breath). However, other characters find strength by turning their anger, sorrow, jealousy, or bitterness into action. Dr. Gray’s personal loss drives him to channel his heavy grief into activism. (Voices of Elysian Fields).

• Unreliable (or biased) Narrators: Do you swear to tell the whole truth and nothing but the truth? “Facts” told by a narrator aren’t often as black-and-white as presented, and an unreliable narrator can skew our perception, and the reality for those around them, creating conflict from their biases, lies, and little ‘t’ truths. Consider Rachel—an unemployed woman struggling with alcohol—who witnesses a shocking event that leads her to dig into a missing persons case, but can she trust what she saw? Or is her mind too far gone? (The Girl on the Train).

External

• People vs. People: Conflict can arise from characters’ actions or inactions. Aren’t we often the root of our own problems, too? Yossarian’s conflict isn’t just with the enemy he fights during WWII, but with those around him. He is constantly up against Cathcart, who represents the absurdity of bureaucracy, as well as Milo, who’s manipulative and solely focused on turning the war into a profit-gaining enterprise. (Catch-22).

• People vs. Society: This includes conflict stemming from cultural norms, traditions, or laws, economic wealth, or disparity. Dr. Gray contends with a bureaucratic system that has neglected the coroner’s office. Inadequate space leaves them dealing with bodies piling up (literally). His situation is exacerbated by corrupt politicians whom he suspects are at the core of a scandal. (Voices of Elysian Fields).

• People vs. Nature (Setting): Setting itself can be a character, and sometimes, an antagonist. In Cormac McCarthy’s The Road, the bleak, ash-covered landscape acts as an adversary. Throughout much of this story, father and son grapple with natural forces, and the environment emerges as a significant character. 

• People vs. Supernatural: Spirits, ghosts, demons—anything not of this realm can be a source of conflict for our characters. In Claire Fraise’s They Stay series, the protagonist is up against supernatural forces, and she interacts with ghosts (both friend and foe). These paranormal elements are the backbone of all conflicts within the series.

• People vs. Machine: With the ever-constant rise in technology, we see this form of conflict played out daily. When the pilot drifts in and out of consciousness, Jo battles to land a plane with instruction from the tower; in this instance, the machine (the plane) has become a grave antagonistic force and the stakes are heightened—if she fails, everyone dies. (Falling). 

Lookout! 

Observe how conflict unfolds in your favorite movies and books. Study both internal and external conflicts and how they play out. If the internal conflict isn’t stated or obvious, can you infer a character’s inner struggles based on their actions and reactions to outer circumstances? How does the author or director make use of this device? Was it effective? How can your understanding of what they did help you accomplish the same?

Prompt 

Develop a character facing two conflicting desires. Perhaps he wishes to be closer to his girlfriend, who’s moving to New York for a dream job, but doesn’t want to leave his quiet life on a Pennsylvania farm. Then, choose from the list of external conflicts above and add that element. Perhaps ghosts come to settle on the farmland, disrupting his peaceful life. Or just as his girlfriend lands in New York, an autonomous AI-controlled technological barrier encircles the entire state, preventing anyone from entering or leaving.

Further Reading: 

• https://literarydevices.net/what-is-the-main-conflict-a-quick-guide-for-writers/

• https://literarydevices.net/internal-conflict-explained-a-literary-device-for-writers/

• https://writershelpingwriters.net/thesaurus_sample/conflict-thesaurus-supercharge-your-story-with-225-conflict-scenarios/

• https://writershelpingwriters.net/2025/12/four-moments-when-you-should-hold-the-conflict/

• https://writershelpingwriters.net/2025/08/strengthen-your-story-with-conflict/

Between Pen and Paper: Flaneuring Through a Writer’s Mind – The API of the Human Heart, or Why Your Characters Keep Misunderstanding Each Other

By Andi Kopek

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There has been no shortage of criticism lately regarding artificial intelligence (AI). Some of it is thoughtful, some quite theatrical. I may dedicate a future column entirely to the ethical, economic, and existential anxieties surrounding AI. Today, however, I want to focus on something far less dramatic and far more revealing: how advanced AI systems actually talk to one another, how this can shine new light on human communication and miscommunication, and how it could inspire a modern writer.

Beneath the glossy headlines and dystopian forecasts, most modern digital systems communicate through something called an API, an Application Programming Interface. An API is essentially a structured contract that defines how one program can send a request to another, what format the data must follow, what information is required, and what kind of response will come back. In other words, before artificial intelligence can destroy our civilization, it must first agree on grammar.

Imagine two computer programs trying to talk. They cannot rely on vibes. They cannot roll their eyes. They cannot say, “You know what I mean.” They must follow a strict contract, a rulebook for how one system talks to another. An API. If the message does not match the expected structure, it fails. Not emotionally. Structurally. The receiving system does not feel hurt. It returns an error code: 400 (Bad Request).

Let’s have a little fun and apply this communication model to human interactions. Every person you know is running an API. It is undocumented. It is unstable. It auto-updates without notice. Your internal API defines what tone you accept, what topics are permitted, what context you require, what emotional load you can process, what you interpret literally, what you interpret as subtext, what feels like attack, and what feels like affection. When someone speaks to you, they are making a request against your interface. When you respond, you are sending data formatted according to theirs. Conversation is not just expression. It is parsing.

In programming, parsing means interpreting incoming data according to a defined structure. If I send { emotion: sad } but you expect { mood: sadness, intensity: 0.7 }, the request fails. Not because we disagree about sadness. Because we disagree about formatting. Now consider the most dangerous sentence in the English language: “I’m fine.” One person means: I am overwhelmed but not ready to unpack it. The other hears: Everything is okay. Same words. Different schema. According to our little game, human miscommunication is not malice. It is incompatible parsing.

If humans were honest, we would speak in status codes.

200 OK: I understand you.

401 Unauthorized: You do not have access to that story.

403 Forbidden: That is a boundary.

404 Not Found: I do not recognize the version of me you’re describing. 429 Too Many Requests: Please stop asking.

503 Service Unavailable: I am exhausted and pretending otherwise.

Instead, we say things like, “Whatever,” which is the emotional equivalent of a corrupted packet.

In AI networks, data can be corrupted, and signals can degrade. In humans, fatigue, stress, trauma, and cognitive overload can increase the error rate. The same sentence can succeed at 9

a.m. and fail by the late afternoon. Moreover, different neurotypes run different parsing defaults. As a simplified analogy, consider autism as a condition where parsing is more literal. If someone says: “It’s cold in here,” one person hears a temperature observation. Another hears a request to close the window. Different inference engines. Not broken. Just different schema.

From this perspective, depression can look like low processing bandwidth, high error sensitivity, and reduced response generation. Instead of getting a return of 200 (OK) for a typical request, the system returns 503 (Service Unavailable). Anxiety resembles a hyperactive validation layer. Every incoming message is checked for threats, rejections, or hidden errors. Neutral packets get flagged as suspicious. False positives multiply. Psychosis might be described as a model in which incoming data is integrated into a framework that diverges from shared consensus reality. The API still functions internally, but its mapping to the broader network has shifted. The person is not failing to process. They are processing through a different model.

AI systems do not have feelings, though they are becoming increasingly sophisticated at parsing human emotion in text and speech. So what about empathy, a feature we tend to reserve for living organisms? Some would say only humans. In this model, empathy is not absorbing someone else’s emotions like a sponge. Empathy is adaptive formatting. It is the willingness to say: Let me rephrase that. What did you hear me say? What did you mean? How would you prefer I ask? Empathy does not eliminate conflict. It reduces unnecessary 400 errors. Rigid APIs cannot do that. Flexible ones can. Consequently, the opposite of empathy is not cruelty. It is interface rigidity.

Since I’m writing this in February, I cannot ignore Valentine’s Day. Love, perhaps, is long-term API alignment. Over time you learn each other’s required fields. You anticipate response formats. You adjust rate limits. You recognize known error codes. You stop assuming malice in malformed packets. I think we could use more long-term API alignment right now.

Now, writers, this approach can be useful to your craft. Characters do not fight because they disagree. They fight because they parse differently. One character speaks in subtext. Another requires explicit declarations. One needs reassurance before vulnerability. Another needs vulnerability before reassurance. Each is making valid requests against an interface the other does not fully understand. Conflict is born in the gap between intention and interpretation. A character says, “You never listen.” What they mean is: “I don’t feel seen.” What the other hears is: “You are incompetent.” Boom. 400 (Bad Request), followed by 500 (Internal Server Error).

In thrillers, the villain often exploits API weaknesses in other characters. The villain withholds required fields, manipulates format, overloads of the emotional bandwidth, and sends signals designed to be misparsed. Gaslighting, in this model, is deliberate schema corruption. It forces the victim to doubt their own parsing logic.

And when two characters finally understand each other, what has actually happened? As in love, they have aligned their APIs. They have learned that “I’m fine” sometimes means “Please try again.” LLMs (Large Language Models) require enormous amounts of training data to achieve alignment. We train on years of shared experience. And still …

We live in an age obsessed with communication tools. Faster messaging. Smarter devices. Infinite connectivity. And yet our communication remains fragile and far from perfection. The next time a conversation collapses, pause and ask: was this bad intention from a sender, or bad formatting in the receiver’s API?

I hope that this little mental exercise will help to deepen characters in your story, sharpen your dialogue, and make the conflicts feel inevitable rather than contrived. And in your own life, you may discover that many arguments are not wars. They are documentation failures. Which, hopefully, can be revised.

Andi

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Andi Kopek is a multidisciplinary artist based in Nashville, TN. With a background in medicine, molecular neuroscience, and behavioral change, he has recently devoted himself entirely to the creative arts. His debut poetry collection, Shmehara, has garnered accolades in both literary and independent film circles for its innovative storytelling.

When you’re in Nashville, you can join Andi at his monthly poetry workshop, participate in the Libri Prohibiti book club (both held monthly at the Spine bookstore, Smyrna, TN), or catch one of his live performances. When not engaging with the community, he's hard at work on his next creative project or preparing for his monthly art-focused podcast, The Samovar(t) Lounge: Steeping Conversations with Creative Minds, where in a relaxed space, invited artists share tea and the never-told intricacies of their creative journeys.

website: andikopekart.ink
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Literary Alchemy: The Ticking Clock

A series designed to elevate your skills and empower you to write like a pro.

By Chrissy Hicks

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The “ticking clock” is a narrative device that introduces a time constraint or deadline, heightening tension and urgency in a story. It compels characters to act quickly, often leading to dramatic stakes and heightened emotional engagement. This device not only propels the plot forward but also immerses readers in the characters’ race against time, making every moment feel critical.

Why Use the Ticking Clock?

To effectively use this technique, include a deadline—whether it’s something drastic like a timed bomb, or something more subtle, like a bus arrival or cigarette break—the type of deadline will depend on your story’s plot. This can create:

• Heightened tension since a looming deadline creates a sense of urgency that keeps readers on the edge of their seats. In 24 (TV Series), Jack Bauer’s race against time to thwart terrorist attacks amplifies the stakes, making each second count.

• Further character development as the pressure of a ticking clock reveals a character’s true nature, showcasing their strengths and weaknesses. In The Woman in Cabin 10 (Ruth Ware), Lo Blacklock frantically attempts to get the crew to take her seriously about a crime she’s witnessed. If she can’t convince the crew or find evidence of the crime before docking, she risks losing the chance to address the situation entirely, as the potential perpetrator could escape or cover their tracks.

• Gain plot momentum and lose the muddy middle. Time constraints can drive the plot forward, forcing characters to make quick decisions that lead to unexpected twists and turns. In The Da Vinci Code (Dan Brown), Robert Langdon, is thrust into a race against time to solve a murder mystery. The urgency is heightened by the fact he must decipher these clues before a powerful organization can act on their own agenda.

• Pacing is enhanced with this method, because it creates a sense of rhythm that propels the narrative forward. This urgency keeps readers eager to turn the pages, as they feel the pressure alongside the characters. When Lo finds herself trapped below deck, readers are wondering what will happen next and if she’ll escape before the boat leaves the dock (The Woman in Cabin 10).

How and When to Use the Ticking Clock:

To incorporate the ticking clock into your narrative, consider the following techniques:

• Set Clear Deadlines: Establish a specific time frame that characters must adhere to, whether it’s a countdown to an event, a deadline for a mission, or a race against an impending disaster. “I am going to ask you one last time. Who are your co-conspirators? You have until the count of three, or I will kill you” (24).

• Create Consequences: Make it clear what’s at stake if the deadline is missed. This could involve personal loss, failure of a mission, or even life and death situations. “The answer was Trondheim. . . All I had to do was make it until dawn.” (The Woman in Cabin 10).

• Use Real-Time Elements: Consider employing real-time storytelling, where events unfold in sync with the ticking clock, enhancing the urgency and immediacy of the narrative. “Gray... people in this country are dying, and I need some answers. Are you gonna give ‘em to me or am I gonna have to start hurting you?” “Actually, you're hurting me now.” “Trust me, I'm not” (24).

• Incorporate Flashbacks or Foreshadowing: Use these techniques to reveal past events or hint at future consequences, deepening the emotional impact of the ticking clock. “Now, with over four million copies of The Way in circulation in forty-two languages, Opus Dei was the fastest-growing and most financially secure Catholic organization in the world. Unfortunately, Aringarosa had learned, in an age of religious cynicism, cults, and televangelists, Opus Dei’s escalating wealth and power was a magnet for suspicion.” (The Da Vinci Code).

Lookout

Pay attention to how the ticking clock is used in movies you watch and books you read. Analyze how the author or director builds tension and urgency. What techniques do they employ to keep you engaged? How can you apply these insights to your own writing?

Prompt 

Write a scene where a character faces a looming deadline that forces them to make a critical decision. What if you condensed 24 hours to 15 minutes? Consider how the pressure of time influences their choices and the emotional stakes involved.

Further Reading: 

• Screenwriting from Iowa: Ticking Clock

• Narrative Tension and the Ticking Clock

• Use the ticking clock device to add suspense to your stories! (Video)

What is A Thriller?

By Carol Willis

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After I took the plunge and quit my job as a pathologist to write full time, the first novel I ever completed for adults was a psychological thriller. It is a genre near and dear to my heart. I love reading them, and love writing them even more. What is a psychological thriller? And what makes them so compelling? 

Let’s dig in.

Thriller is a genre of literature defined by the primary mood of dread and suspense. They aim to make readers unsettled, nervous, and eager to read what happens next. All fiction should elicit some amount of stress in the reader in the form of tension and conflict, but in a thriller novel, the stress is the main feature. They often feel cinematic and involve high stakes and dramatic plot points. 

In short, if it “thrills,” it is a thriller. 

In the introduction to Thriller, a major anthology published in June 2006, James Patterson says:

Thrillers provide such a rich literary feast. There are all kinds. The legal thriller, political, spy, action-adventure, medical, military, police, romantic, historical, religious, high-tech. The list goes on and on, with new variations constantly being invented. In fact, this openness to expansion is one of the genre's most enduring characteristics. But what gives the variety of thrillers a common ground is the intensity of emotions they create, particularly those of apprehension and exhilaration, of excitement and breathlessness, all designed to generate that all-important thrill. 

In other words, if a thriller doesn't thrill, it's not doing its job.

Thriller is a hybrid of mystery and horror, sharing a literary lineage with the epic and myth. Monsters, terror, and peril prevail. They are dark suspenseful plot-driven stories. 

In his excellent 2019 article for Writer’s Digest entitled, “The Differences Between a Crime, Mystery, and Thriller Novel” David Corbett again emphasizes the emotion: Of the three major suspense genres, thrillers are typically the most emotional, focusing on the fear, doubt, and dread of the hero as she faces some form of what Dean Koontz has deemed “terrible trouble.” 

There are many elements to thrillers that overlap with other novels of mystery and suspense but typically with an exaggerated atmosphere of menace and sudden violence, such as crime and often murder. A devastating crime is about to be committed or has been committed with the threat of another one looming. The villain is known, but his guilt is not certain—or the hero cannot accept the truth of his guilt. Uncertainty and doubt enhance the suspense.

The tension usually arises when the main character(s) is placed in a dangerous situation, and we spend the rest of the novel waiting to see if they’ll escape. Themes typically emphasize the dangerous world we live in, the vulnerability of the average person, and the inherent threat of the unknown. 

Thrillers can take place in exotic settings—think geopolitical and many spy thrillers—but most take place in ordinary suburbs and cities. The main character, the hero, is usually tough and resourceful, but essentially an ordinary person who is pitted against a villain determined to destroy them, their country, or the stability of society. 

Suspense is how an author builds tension throughout the story. It’s necessary in any genre, but it’s absolutely vital in thrillers. Ultimately, your goal for the reader is that they never want to put the book down. Each chapter ends with a cliffhanger, urgent question, or significant plot twist. And the plot must have high stakes. The characters must have a lot on the line—it needs to really matter they succeed. 

In a thriller, the plot should be driven by one big, important question. Think Chris Whitaker’s All the Colors from the Dark. The story begins when Patch is abducted when he is a young boy and held captive in a darkened room along with another young girl, Grace. Patch eventually escapes but spends the rest of his life searching for Grace. It is a complex, multilayered mystery involving missing persons, child kidnapping, and a serial killer weaving several plots lines, each with their own twist, but it is Patch’s quest that becomes the central question that drives much of the suspense throughout the novel. Who was Grace and what happened to her? 

While action does not need to be non-stop, suspense and intrigue need to be constant. There must be a sense of urgency to keep you turning the page.

This basic story structure emphasizes the importance of reader expectations: There is a distinct hero and a villain. The attack on the hero is relentless with escalating terror and dread. The hero must be vulnerable—not just physically but psychologically. 

So, what is a psychological thriller and what makes them different from other types of thrillers? 

The biggest questions revolve around the minds and behavior of the main characters. Common elements in include plot twists, psychology, obsession, and mind games. They incorporate elements of mystery and include themes of crime, morality, mental illness, substance abuse, multiple realities, and unreliable narrators. 

A psychological thriller finds the terror in madness and paranoia. Here the threat is diabolical but more contained, even intimate—usually targeting the protagonist and/or his family—and the hero is often relatively ordinary. 

It is the upending of our prosaic circumstances that disconcert us the most. This is why many psychological thrillers are domestic dramas set in the home, threatening our most cherished relationships such as husband and wife, mother and daughter, or sister and sister. The protagonist (and the reader) come to think if we are not safe in our own home, we must not be safe anywhere.  

Psychological thrillers generally, but not always, stay away from elements of fantasy or science fiction, focusing on events that could take place in real life. However, with advances in medical science and robotics, and the rise of AI, this is changing. Near-future psychological thrillers involving clones or robots gone awry can be eerily convincing. 

In summary, like all good stories, it comes down to setting and character with a problem. The reader must care about what happens next. Psychological thrillers are highly emotional and revolve around the minds and behavior of the main characters. Common elements in include plot twists, mind games, and unreliable narrators to create an atmosphere of menace with looming threats. They are suspenseful and filled with fear and dread to keep readers turning the page. 

In the next series of essays, I will discuss five specific elements we see in a psychological thriller. 

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Carol Willis (she/her) received her MFA in Writing (fiction) from Vermont College of Fine Arts. After receiving her medical doctorate from Texas A&M and an MBA in healthcare from George Washington University, she practiced child health and pathology before moving to Central Virginia. She is the author of a psychological thriller set in Chicago, a dark domestic drama exploring marriage, career, and identity. Her short stories have been published in multiple online journals and anthologies including Valparaiso Fiction Review, Inlandia: A Literary Journey, Living Crue Magazine, Crime in Old Dominion and others. 

Five Writing Tips No One Has Ever Told You

By Philip Cioffari

A bold assertion, I know, but there are things one learns over a lifetime of writing that seem to contradict what we’ve been taught and even, at times, to defy both logic and rationality. What follows is a short list of—insights might be too strong a word—items that I’ve learned the hard way.

ONE. You don’t need an idea to get started. Waiting for inspiration or for a “good idea” can be frustrating and time-consuming. Another way of saying that is you’re wasting precious time. Ideas are curious entities and they form in many different ways and for many different reasons. Most often, I’ve found they develop in stages; rarely do they appear fully formed. In lieu of that fully dressed idea, a writer can begin with an image, a single sentence, a character performing a simple action, a particular setting, or even a single word. Anything can serve as a starting point.

Take for example the case of Tennessee Williams. He has stated that his play, A Streetcar Named Desire, began with a single image: a woman in white sitting on a porch. That image eventually became the character Blanche du Bois: the tragic heroine of arguably one of the greatest American plays of the 20th century. When I began my first novel, I had only this notion: a group of boys playing in one of New York City’s urban swamplands. I had no sense of what I wanted to write—or that it would indeed turn out to be a novel—beyond that small detail. Some 10 years later—I know, I know, a hell of a long time, but it was my first—and my novel, Catholic Boys, emerged.

My point is, you can begin anywhere, with the barest scrap of material. Who knows where it will lead? The journey toward the idea is half the fun. One word on the page leads to a second, one sentence to a second sentence. It’s as basic as that.

TWO. Plot is another name for character development. One doesn’t have to agonize over outlining a plot or whether a plot is interesting enough. You don’t need a plot to begin. If the characters are interesting, the plot will be too, because the most genuine, credible plots are an extension of a character’s desires. If you know what a character wants, what the obstacles are, and what he or she will do to overcome those obstacles, then the plot, as if by wizardry, takes form. Simply follow your character’s struggle to reach an objective. And you will have your plot.

THREE. Tension should exist in every sentence. Much can be said about the ways to create narrative tension, but a simple rule I strive for is to have some kind of tension in every sentence of my books. That tension can be of varying kinds, it can be explicit or implicit, but it needs to be there. And I’m not talking about obvious explicit tension—a stabbing or a fist fight or an argument between people. That speaks for itself. I’m referring to the more subtle variations of implicit tension: something is unfinished or unresolved, something is left unsaid, something needs fixing, something is missing that a character needs or wants, and so forth.

Take for example a typical poem of the Romantic era. On the surface, the poem is praising the beauty of a particular flower, but the tension beneath the surface is that as beautiful as this flower is, it’s going to wither and die. So ultimately the poem is about, and the tension comes from, our sense of transience, loss, and grief.

FOUR. Finding your way when you get lost. Nothing is worse for me than losing my emotional connection to my work in the midst of creating it. Where did it go–that connection to the material, that passion that got me started on the work in the first place? Personally, I try to never abandon a work I’ve begun. Something stimulated my initial interest, impulse, or passion. For some reason the material or characters reached out and grabbed hold of me. There’s a story there that needs telling, so I try to forget what I’ve written so far and go back in search of that original impulse. Maybe that means revisiting a place or making contact again with a person or people connected to the incident I’m writing about. Often it’s a matter of feeling my way back to the source: those feelings that first got me engaged in the piece. I might listen to songs or look through photos from a particular period. Essentially, though, I’m trying to pinpoint the source of the impulse that made me want to begin writing the piece in the first place. If I can reconnect to it, I can usually reconnect to the story I’m telling. (This may mean eliminating some or even most of what I’ve written. It may mean going back to that point in the story where I went offtrack and picking up from there.)

FIVE. Revisions take time and distance. One can, and should, do some revisions at the conclusion of completing a piece. What I’ve found is that vital revisions require some kind of separation from that initial effort. What has served me best is to set the work aside and begin a new writing project. When I’ve completed a draft of the new project, then I go back and rework the previous piece. There’s something about immersing oneself in a new writing project that brings with it a sense of objectivity and awareness that’s necessary in the final polishing of a manuscript. Resist the temptation to rush it off for publication. A piece of writing needs time to mature. And we, as writers, are well-served to mature along with it.

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Philip Cioffari grew up in the Bronx and received his B.A. from St. John's University and his Ph.D. from New York University. He teaches in the writing program at William Paterson University. His novels and story collections include: If Anyone Asks, Say I Died From The Heartbreaking Blues; The Bronx Kill; Catholic Boys; Dark Road, Dead End; Jesusville; and A History Of Things Lost Or Broken.