Writers in the Storm

By Janice Hardy

You can have conflict without tension, and tension without conflict. But you probably don’t want to.

I made pretty much all the writing mistakes when I first started writing, and one of them was mixing up conflict and tension. I foolishly thought they were one and the same, because everyone talked about them that way.

• “You need conflict and tension.” 
• “Make sure your scenes have conflict and tension.” 
• “There’s not enough conflict and tension in this story.”

It was rarely just conflict, or just tension. 

Close But Not the Same

Confusing conflict with tension has caused a lot of frustration, because they’re so closely linked, they seem like the same thing—except they aren’t. 

Wanting to go to prom and struggling over which invitation to accept is a conflict, since a choice has to be made, and there’s something in the way of “going to prom.” Someone will likely get hurt, or mad, and getting the goal requires resolving a problem (even if that problem is minor in the grand scheme of things). 

But if there’s no sense of anticipation about that choice, then there’s no tension. If readers don’t care about the choice, or the choice is obvious, or it doesn’t actually make any difference in who’s picked, the conflict is just something that has to be done, not a situation that engages readers in the story.

Conflict is all about choices and the fear of making the wrong one.

Tension is all about the reader’s need to know what happens next.

A conflict can pique your interest, but the tension keeps you reading. The combination gives a wonderful sense that there’s more going on than meets the eye, and creates the anticipation of something about to happen, good and bad. 

“There’s a problem and I have no idea what the protagonist is going to do about it, but I need to find out.” 

For example:

• A fantasy protagonist sneaks through the dark, scary graveyard and jumps at every sound, sure she’s being followed. (There’s tension as readers wonder and worry about what’s following her, but “being nervous” isn’t a conflict since there’s nothing opposing the protagonist or her goal.)
• A romance protagonist banters with the love interest, but never acts on her attraction and leaves without doing anything. (Readers eagerly read on to see where that banter might go, creating tension, but playful bantering isn’t preventing these two from achieving their goal. In fact, it’s helping them achieve it.)
• A mystery protagonist eavesdrops on a suspect. (The fear she might be discovered can create tension, and there’s anticipation over what she might learn, but there’s no conflict in this action.)

While these examples can create tension and draw readers into the story, there’s no opposition to any goal, no struggle to overcome a challenge, and no choice to be made to resolve any problem. Simply put, there’s no conflict in these scenes, even if there is tension, so they may or may not work.

Let’s look a little closer.

Say a girl is eagerly waiting for the next summer blockbuster to come out. That situation might have tension, but no conflict since nothing is keeping her from seeing that movie by the release date. 

However…

What if she wins tickets to the opening night show, but her best friend can’t go and she promised to see it with her? That’s conflict, because it forces the protagonist to make a choice about her goal—does she see the movie opening night and hurt her friend, or wait until her friend is free like she promised?

This situation has it all now—tension (What will she choose? What will happen?), conflict (Should she go or not?), and stakes (If she goes, will that hurt her friend or even ruin their friendship?). That hardworking trio is working as intended to hook readers and make them care what happens and what this girl decides to do.

If you’re unsure if you’re confusing conflict and tension, look at your scene and ask:

Is there opposition to your protagonist’s goal? 

Conflict exists when something or someone is preventing the protagonist from getting what they want. If there’s no opposition, there’s no conflict. If the whole point of the scene is to overcome or achieve something, that opposition is critical to keeping readers engaged.

Tension is when the reader worries the protagonist will fail. If there’s no change of failure, there’s nothing to worry about, and hence, no tension. 

Is this opposition creating a challenge to overcome, or just an obstacle to get past? 

It’s not uncommon to see an obstacle in the way of the protagonist’s goal and think the scene does indeed have conflict. But “obstacles in the way” aren’t usually good conflicts. If the result of the scene is the same even if the protagonist hadn’t encountered the obstacle, it’s not actually a conflict—it’s just a delay. This is one of the more common conflict issues, especially in plot-heavy novels. Getting past the obstacle doesn’t mean anything or change the outcome of the scene.

You can have a tense delay, especially in a heavy, emotional scene, but what the reader is worried about or anticipation, probably has little to do with the delay itself. There’s more going on that’s creating that fear, worry, or need to know.  

What’s driving the reader’s need to turn the page? 

A good conflict/tension mix pairs the anticipation of what’s to come with the uncertainty of how it will turn out. The conflict creates uncertainty (typically making the protagonist struggle with a choice on what to do), and the tension creates the need to see how it all turns out. 

It’s not easy to be objective about our writing, but take a step back and consider why a reader would want to turn that page. What would make them want to keep reading? If they skipped the scene, would it really matter? If the answer is no, odds are the scene needs more conflict.

Is the outcome obvious? 

If there’s anticipation but no problem to overcome, the outcome of the scene will likely be obvious. There won’t be a choice to make, or a challenge to face, because there’s no conflict preventing the protagonist from acting. 

The critical element here is how interested the reader is in how the protagonist gets to that obvious outcome.

For example, knowing the kiss is coming is obvious, but the fun is in watching the courtship dance to get there. Tension without a lot of conflict can work just fine in this situation. But watching the protagonist struggle to disarm a ticking time bomb readers know from the start they’ll be able to disarm lacks tension and conflict and just makes readers wait unnecessarily.

Scene Not Working?

Remember, conflict works with tension (as well as stakes, and a slew of other things) to put characters into situations that make readers want to know and worry about what happens next.

If a scene isn’t working, look at conflict and tension as separate items and determine if either one needs tweaking. Maybe you have plenty of tension, but the conflict is lacking. You might have a great conflict that requires the protagonist to really struggle to resolve or overcome it, but readers just don’t care because there’s no tension. Perhaps you have too little of both and that’s bringing the entire scene down. 

Quite often, it doesn’t take much to fix a scene and turn it from bland to gripping. Sometimes, all it takes is a solid understanding of how conflict and tension work to make readers desperate to see what happens next.

Will readers anticipate how your scenes turn out? Why or why not?

About Janice

Janice Hardy is the award-winning author of the teen fantasy trilogy The Healing Wars, including The Shifter, Blue Fire, and Darkfall from Balzer+Bray/Harper Collins. She also writes the Grace Harper urban fantasy series for adults under the name, J.T. Hardy. When she's not writing fiction, she runs the popular writing site Fiction University, and has written multiple books on writing, including Understanding Show, Don't Tell (And Really Getting It), Plotting Your Novel: Ideas and Structure, and the Revising Your Novel: First Draft to Finished Draft series. Sign up for her newsletter and receive 25 ways to Strengthen Your Writing Right Now free.

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The Author's Ultimate Guide to Book Festival Success

By J. Alexander Greenwood

Let’s be real: standing behind a table trying to convince strangers to buy your book can feel as awkward as giving a speech in your underwear. I get it—I’ve done dozens of these and just did it again last month. 

But here's the thing: seasoned authors know that book festivals aren't just about moving inventory—they’re about making genuine connections that turn curious passersby into loyal readers. Please note you won’t always sell a lot. Last year at a book festival I sold out every book—nearly 100—along with a sale of my series to a library system.

But get this: I only sold 7 books at a small festival the other day—bummer. However, I interacted with several folks and snagged some future podcast guests and got to hang around with writers. But let’s get to some tips to help you make the most of your book festival appearance!

Before You Pack Those Books: Strategic Planning

Define Your Festival Persona  

Are you the approachable mystery writer who helps readers uncover their next favorite whodunit? Or maybe the passionate historian bringing the past to life? Whatever your style, your festival persona should reflect who you are while showcasing what makes your books stand out. Not going to lie, once you settle on a persona, sometimes it’s hard to muster, but do try.

Design a Booth That Tells Your Story  

Ditch the flat table with books scattered around. Instead, create an experience:

• For Romance Authors: Set up a cozy reading nook with fairy lights and vintage love letters.
• For Fantasy Writers: Display a map of your fictional world and sprinkle in some "magical artifacts."
• For Mystery Authors: Stage a mini crime scene with caution tape and clues from your books.

Pro Tip: Height is your friend. Use a mini bookshelf or props to give your display some dimension and visibility.

The Money and Numbers Game  

• Bring 50% more books than you think you'll need.
• Proven price points from 50+ festivals: $15–$20 for paperbacks; $25–$30 for hardcovers
• Special festival deal: 2 books for $30
• Accept all forms of payment—cash, card, and digital.
• Make sure your mailing list and social media are letting folks know where and when you will be. Ask them to share I with their networks.

During the Festival: Creating Magic

The 5-Second Hook  

You’re not just selling a book—you’re offering an experience. Try these conversation starters:

• “Do you love [insert bestselling author]? I’ve got something you’ll enjoy...”
• “What was the last book that kept you up all night?”
• “Want to see something that will change how you think about [your book’s theme]?”

Whatever you do, don’t lead with: “Would you like to buy my book?” That’s like proposing on the first date.

The Introvert’s Guide to Selling  

Not a fan of small talk? No problem. Try these:

• Set up an interactive element at your table (a quiz, game, or "guess the murderer" contest).
• Use conversation cards to guide discussions.
• Take “social battery” breaks every couple of hours.

Turning Browsers into Buyers  

Here’s the trick: escalate the engagement.

• Make eye contact and smile—basic human connection.
• Offer something free (bookmark, candy, mini quiz).
• Ask a fun, engaging question about their reading preferences.
• Share your book's "origin story"—people love a peek behind the curtain.
• Seal the deal with your special festival offer.

The Hidden Opportunities Most Authors Miss

The Author Gold Mine  

Sometimes, the best connections aren’t readers—they’re fellow authors. Networking with other writers can lead to collaborations, co-promotion, and even breakthroughs. I got an invitation for a paid speaking gig at a literacy program!

Build Your Reader Army  

• Create an exclusive reader magnet just for the festival (bonus chapter, prequel story).
• Use a QR code for easy mailing list sign-ups.
• Offer a “VIP Reader” card with perks like discounts or early access to new releases.

Content Creation Heaven  

• Go live on social media during slow moments.
• Snap photos with readers (with their permission).
• Record short videos sharing your festival experience or behind-the-scenes moments.

Emergency Situations: Quick Fixes

• Card reader dies? Have backup options like PayPal, Venmo, or another payment app. I always take checks. Book readers have never stiffed me.
• Out of books? Offer pre-orders with a festival discount.
• Slow traffic? Use downtime for social media content creation.
• Losing your voice? Keep throat lozenges and water nearby.
• Bad weather? If you're outdoors, have clear plastic sheets handy to cover your table.

After the Festival: Maximize Your Success

24-Hour Follow-Up Plan  

• Email new subscribers their bonus content.
• Post highlights from the festival on social media.
• Send thank-you messages to key connections.
• Update your inventory and sales records.
• Take note of what worked—and what didn’t—for next time.

One Week Later  

• Share festival stories and photos in your newsletter.
• Reach out to authors for potential collaborations.
• Start planning improvements for the next festival.

The Festival Success Checklist

Must-Have Items:

• Books (more than you think you'll need)
• Square reader + backup
• Banner with your name/brand
• Business cards
• Mailing list sign-up (tablet or paper)
• Pens
• Camp chair
• Table
• Comfy shoes
• Phone charger
• Promo materials
• Emergency kit (pain relievers, throat lozenges, band-aids)
• Snacks and water
• Phone charger
• Cash box with change

Remember: everyone who stops at your table isn’t just a potential sale—they’re a potential champion for your work. Book festivals aren’t about the number of books you sell today; they’re about the readers you’ll keep for a lifetime. Stay authentic, stay prepared, and most importantly, stay excited about sharing your stories.

Your Next Step:  

Before your next festival, pick one area of this guide to master—whether it’s crafting the perfect pitch or creating a killer display. Excellence in just one area can take your festival experience from good to unforgettable.

If you've done book festivals, what worked for you?

Does this post help you see yourself participating in a book festival? Which of these area do you want to master?

About J. Alexander Greenwood

J. Alexander Greenwood is an award-winning writer, public relations consultant, podcaster, speaker, and former journalist and broadcasting executive. He is best known as the author of the John Pilate Mysteries and host/producer of the Mysterious Goings On podcast and the PR After Hours podcast. Alex is also the author of the Amazon Top-Selling eBook/audiobook, The Podcast Option. You can read his blog at JAlexanderGreenwood.com.

Top image by J. Alexander Greenwood via Dall-E

by Sarah (Sally) Hamer

Are you in the throes of NaNoWriMo? Of course, it has just started at the time you'll be reading this, but early days are often the most important, because how you handle them makes a huge difference as to how far you get. Otherwise, it's like Matthew Reilly's quote, "We didn't come this far just to come this far." Or, maybe even a better quote from the Cheshire Cat, "If you don't know where you're going, any road will get you there." (Lewis Carroll)

So, where are you going? Whether or not you're in NaNo this month, the question still stands. Don't get me wrong, writing for the sake of writing is one of the most healthy things we can do, IMHO. Some people are not and never will be writers, but they're not the ones who will be reading blogs on Writers in the Storm's website. But, for those of us who cannot NOT write, anything that comes out of our brains can be beneficial. 

It's also a good thing to have words go together in a coherent and useful manner. After all, most of us really do want to take the right road and complete a story. But just writing doesn't always make that happen.

So, the questions we can ask ourselves are pretty darned simple. It's the answers that can get us to thinking:

What are you writing about? 

I'm not talking characters or plot but, instead, how theme is the heart of a book. It's a word that often strikes fear in a writer's heart because most of us just want to write a story. But finding the real reason for that story can make all the difference as to whether it makes sense to anyone else. Take Frank Herbert's Dune books. It's about a future universe of war and avarice, spice and addiction, and desert vs. water planets. But the theme is how a boy, whose family and life is destroyed by a maniacal emperor, matures and, ultimately, grows into a maniacal ruler himself. The books lead us from innocence to a growing understanding of how choices made for the "right" reason can lead to unbearably "wrong" consequences. And, love it or hate it, Dune gives us a theme that resonates across history. 

Why are you writing about what you're writing about? 

We write what we know. Each of us is deeply engrained into our own history and how we got to this point. So, we write about different aspects of ourselves. I often have students tell me that "I could never kill anyone!" But we can certainly write stories where a character does just that. Sometimes in brutal, horrific fashion. So, why do we write stories about shame or fear or hate? It's because we have that facet within in us. No one can be all good or bad – there are always layers and polarities and balances going on. The brilliance of this for a writer is that we can pull on the traits we consider negative to express stories with truthful, believable characters because, although we may never act on those parts of us, we have them within us.

Do we have to know the theme before we start writing? 

No. Not at all. Sometimes I have absolutely no idea what I'm going to be writing about before I start. It's just a character I find interesting who has gotten him or herself into a bind and I'm trying to figure a way to get them out. Theme often grows as the book does, twisting and turning until I have enough knowledge about what I want to say to let me unravel it. Then, I go back and tweak the places in the story that need to have theme. But it does make it easier to know where you're going first. 

What if I have no idea what my themes are? 

I have a "built-in" theme, as I believe most people do, which is pretty much the same for almost every story I've ever written, so it's usually not too much of a problem for me. But not everyone knows the theme "of their heart." So I suggest that worrying about it is not the best route to figuring it out. Examine your own stories. Is there a particular commonality? What books/movies do you like? What is the underlying idea? What draws you to those stories? What makes you feel good/uplifted about them? That’s usually the theme.

Still have no clue? Read more about it in "Finding Your Story's Theme.

Bottom line

Theme is the backbone of a story, with all of the other aspects – character, plot, pacing, action, goals, etc. – wrapping around it like the muscles, nerves, and flesh of a fully-articulated body. And, whether we're writing like fiends to get 50,000 words down in a month or not, theme can sit in the back of our brains and guide us through the stories we want to tell.

When do you know what your story's theme is? What is the theme of your current WIP?

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About Sally

Sarah (Sally) Hamer, B.S., MLA, is a lover of books, a teacher of writers, and a believer in a good story. Most of all, she is eternally fascinated by people and how they 'tick'. She’s passionate about helping people tell their own stories, whether through fiction or through memoir. Writing in many genres - mystery, science fiction, fantasy, romance, medieval history, non-fiction – she has won awards at both local and national levels, including two Golden Heart finals.

A teacher of memoir, beginning and advanced creative fiction writing, and screenwriting at Louisiana State University in Shreveport for over twenty years, she also teaches online for Margie Lawson at www.margielawson.com and hosts symposiums at www.mindpotential.org. Find her at info@mindpotential.org.