In the last column, I focused on the formation process of some classic conflicts, which I feel is quite helpful for writing urban novels!

Hey!

Today, let's talk about the various ways in which these conflicts take place.

There may be places where the writing is not in place, please forgive me!

Fifth, there is a hand in grabbing relatives

Although the bridge of snatching relatives is a bit old-fashioned, if the pen is right, it can still write a good effect.

Of course, robbing relatives doesn't have to be like the old fashioned way of writing, the female protagonist is sitting in the hotel in a wedding dress, and the male protagonist is domineering on the stage to carry out all kinds of pretenses, and finally snatches the female protagonist away.

The author can write the woman's family background thoroughly, indicating that there are other powerful characters in big families who have long had ideas about the heroine, and the heroine's family also seems to have a default meaning.

If there is no male protagonist, the result is a logical match.

In the end, whether the male protagonist fell in love with the female protagonist first and vowed to keep the female protagonist, or the female protagonist was "blind" to fall in love with the male protagonist, anyway, several conflict lines have been formed.

The contradiction between the female protagonist and her own family, the contradiction between the female protagonist's family and the male protagonist, and the common contradiction between the family and the male and female protagonists who were supposed to marry the female protagonist's family.

There is a lot to write about these plots that resolve conflicts and contradictions!

Sixth, this car is faster than me

In the racing track occupied by the young masters all year round, God knows how the protagonist got in.

Anyway, the protagonist is mixed in, and he has a sports car that can go on the track.

Many people know the rules of the racetrack, you can win, but you have to divide the object.

Don't think about winning if you're a few levels older than yourself, no matter what your strength is, let it!

However, the newcomer protagonist didn't understand the rules, and the young people picked him to play with him when they saw his face, but who knew that this boy who was born in the face threw off a lot of young people in the track, making them lose face.

Later, the young people checked and found out where the protagonist came from, and found that it was such a hairy boy who made them lose face, and revenge was inevitable.

The conflict line here can be set up in a variety of ways, among which if the protagonist is introduced to play by a big man who doesn't want to show his head too much, then the revenge of the young people may be deflated, and the protagonist can pretend to be forced again.

If the protagonist is brought in by a marginal figure in the circle, then the self-rescue action requires the protagonist's own efforts.

As readers, we can watch another good show of the protagonist against the sky.

(This is a column!)

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