Quotes About Struggle

Somehow we realize that great stories are told in conflict, but we are unwilling to embrace the potential greatness of the story we are actually in.

About the time I told God that He didn't exist, I was desperate for an identity.

The purpose of an external problem in a story is to manifest an internal problem.

What is the chief source of conflict that your products and services defeat?

In its purest form, a story starts with a character who lives in peace and stability. Suddenly that stability is disrupted:

All great stories are about survival—either physical, emotional, relational, or spiritual.

In stories, the external problem is often a physical, tangible problem the hero must overcome in order to save the day.

Here are some example headlines that work great: "Our customers no longer struggle with . . ." "You don't have to be confused anymore." "The stakes are high!" "Act now and avoid the hassles." "Our heart breaks when we see people struggle with . . .

external, internal, and philosophical problems.

And what is a story but the wanting for something difficult and the willingness to work for it?

Most of us struggle with the opposite. We don't bring up the negative stakes enough and so the story we're telling falls flat. Remember, if there are no stakes, there is no story.

People love to have lived a great story, but few people like the work it takes to make it happen. But joy costs pain.

If heroes in a story could solve their own problems, they would never get into trouble in the first place.

a story involves a character who wants something and overcomes conflict to get it.

must always know who the hero is, what the hero wants, who the hero has to defeat to get what they want, what tragic thing will happen

If we begin our day believing life is supposed to be easy, we will certainly have a terrible day. Life is not easy, nor was it ever supposed to be.

And stories are all about conflict.

There was also no character arc. Change only comes when we face the difficulty of reality head-on. Fantasy changes nothing, which is why, once we're done fantasizing, it feels like a bankrupt story.

When writing their one-liners, many people fail to connect the problem, solution, and result. For instance: Many families struggle to spend time together, but at Acorn Family Camp, we solve the problem of boring summers so families create memories that last.

The point of a story is never about the ending, remember. It's about your character getting molded in the hard work of the middle.

There needs to be a question as to whether the character will make it, whether he will defeat the enemy or the enemy will defeat him.

Examples:         ââ'¬Â¢  We know what it feels like to be overlooked for a promotion.         ââ'¬Â¢  We know how frustrating it is to have a great looking website that doesn't result in sales.         ââ'¬Â¢  We know what it feels like to worry you're not doing the right thing.

I didn't want to get well, because if I got well, nobody would come and save me anymore. And I didn't want to get well, because while I could not control my happiness, I could control my misery, and I would rather have had control than live in the tension of what if. A chance of hope is no pacifier against a sure tragedy.

1.?What does the hero want? 2.?Who or what is opposing the hero getting what she wants? 3.?What will the hero's life look like if she does (or does not) get what she wants?