Opposition To The Protagonist:

Opposition to the protagonist:

I came across some typed up notes from a previous session of life universe and everything panel. Here are the notes on writing about, opposition to the protagonist.

Consider uncommon forms of opposition for example a handicap.
Decide what sort of opposition your character needs. What gives your character nightmares? What or his or her besetting sins and how can you play on them? What is your character trying to escape? Throw him in the middle of it.
If there is only an impairment to the protagonist there isn’t much of a story
Traditional three: man versus man, man versus nature, man versus self.
Opposition equals growth in the physiological or psychological death. Consider growing into the opposition
Plot devices should grow originally out of your story. Avoid things that or peer to be coincidences.
Good luck for your protagonist is proscribed. Bad luck, however, is permitted without limit. (Bujold’s role of coincidence)
Tension can because merely by a stranger coming into the midst. Something that is not part of the ordinary structure of daily life can cause tension.
Multiple viewpoints (mostly in a novel those privacy can be useful in developing tension because you can follow the antagonist as well as the protagonist. You see how they are at odds and see the stakes increasing from both points of view.
Opposition must be a rising and falling action. It cannot be constant. For maximum opposition at the climax of the story, everything must be on the line for the protagonist. He/C must be the position to lose his life all that gives it value.
Don’t let your character no crucial information that you don’t tell the reader. However, when a character makes a plan, you should wait and let the information be revealed only once, as it is executed. The plan, however, can’t come off without a hitch.
False tension is invoked by having the character make stupid decisions. If you can justify their reasons through character or plot, then it’s okay, but not otherwise.
When the bad guy is a person, the ending is more satisfying and tidy because he can be defeated and the problem goes away. When confronting a social or physical issue, that is not always so.
Psychologically, criminals tend to focus on a chosen victim, the mind blocking out all else including past and future, a sort of tunnel vision. After the crime, all of that comes back in a torrent.
Inspired scenes (often the climaxes) using the less rewriting then the housekeeping scenes.
In a basically evil character, he/she can have some sympathetic qualities. RE: the man hunter (movie), red Dragon (book), silence of the lambs. He really wants love and acceptance but the stories busy can’t get it consistently.
You don’t necessarily want to invite your troubled heroes’ home for dinner. Heroes don’t always have up appealing qualities.