Conflict — both external and internal — is central to effective storytelling. Used properly, conflict (when combined with character and other key elements) can propel a novel onto the bestseller list. But you can’t just pile on the conflict with no let-up, even if you’re writing a high-stakes thriller.

As James Scott Bell notes in Conflict & Suspense, our goal as authors is to keep readers engaged through tension and resolution. Bestselling plots alternate between intense conflict and quieter moments where characters regroup and move closer to their goals.

In his seminal book Scene and Sequel, Dwight Swain laid out the general rule that action-packed scenes should be followed by reflective moments that allow characters to process events and plan their next steps. These “sequels” could be as short as a couple of paragraphs or as long as a scene. It’s a way to let the story breathe.

Fiction University founder Janice Hardy emphasizes this structure: Each scene should follow a pattern of Goal > Conflict > Result, followed by Reaction > Reflection > Decision. Have you done so in your story?

Our AI has analyzed the main sources of conflict in {marlowe_title} and has identified the main sources of conflict in the storyline and the major shifts in emotional polarity. We end with a short “brainstorming” session focusing on opportunities to enhance the narrative drive.

{m2_conflict}

{m2_narrative_drive}

{m2_conflict_ideas}

Emotional valence shifts are crucial for maintaining dynamic storytelling, as scenes should develop narrative tension rather than simply describe a series of events. In How to Write a Damn Good Novel, James Frey writes, “Many books have scenes that don’t shift valences. They never turn. When a scene doesn’t turn, it’s not a scene.” Every scene should advance either plot or emotional engagement, avoiding static filler content.

{m2_shifts}

{m2_shifts_revisions}