Answer Expert Approved Worse than a loyalty test, this "What's it meant to prove anyway?" grilling is the finest example of internal struggle. Sylvia Plath (author of Initiation) was one of the twentieth century's most recognized and influential poets, novelists, and short story writers. Plath killed herself in 1963 at the age of thirty-three after struggling with depression for many years.
She produced only two collections of poems before her death, but they are considered some of the greatest works of modern poetry. Her novels are less well known but just as powerful.
Plath was born in New York City on February 11th, 1932. She grew up in Boston, where she attended Radcliffe College until she had a mental breakdown at age twenty. After spending almost a year in a mental hospital, she returned home and finished college.
When Plath graduated in 1954, she moved to London, where she lived until her death. There, she became one of the leading voices of the new wave movement in British poetry. Her work is characterized by its use of vivid imagery and dramatic monologues delivered by female protagonists who find themselves facing personal challenges.
Plath's first collection of poems was called "Complete Poems 1947-1962". It was published in 1963 when she was only twenty-four years old. Her second book was called "Ariel" and was released two years later in 1965.
Answer Expert Approved When we say "internal conflict," we mean the battle that develops within the brains of the characters, resulting in various inactions in the plot. It would be the lawyer vs. self in the offered possibilities, which is a superb example of an internal struggle in Anton P. Chekhov's "The Bet." The main character, Anton Pavlovich, has been accused of murdering his wife. His friend and colleague, Dr. Tihomir Ivanych, comes to see him at the prison where he is being held. Despite Anton Pavlovich's insistence that he is innocent, Dr. Ivanych informs him that there is strong evidence against him. Frightened by this news, Anton Pavlovich decides to make a deal with the prosecutor: if allowed to go free, he will leave the country immediately.
This decision causes him great pain. On the one hand, he wants to clear himself of the murder charge; on the other hand, he is afraid that if he walks out the door, he may never be able to return. This state of mind is called "inertia" in Russian literature. Antosha Vakulinchuk, who taught English at MGU for twenty years, used to say that Chekhov was the greatest writer of inertia. That is, people in his stories do not act until something pushes them over the edge. In this case, it is Anton Pavlovich's own fear of violence that pushes him beyond the point of no return.
Consequences are the key to constructing a successful internal conflict. Essentially, your character should be caught between a rock and a hard place. Whatever decision they make, bad repercussions should follow—or, at the very least, your character should feel they will. This is what makes conflicts so interesting and relatable: we all make choices that affect our lives, and sometimes those choices are difficult.
There are two types of consequences in fiction: physical and emotional. Physical consequences are events or actions that are directly caused by your character's choice. For example, if a character chooses to shoot someone, then that person might die. Emotional consequences are changes your character feels after making a choice. They can be positive or negative; for example, choosing not to shoot someone might make your character feel guilty. Physical and emotional consequences are important elements in creating compelling stories because we want our readers to understand why characters make the choices they do.
Now, it's your job as a writer to show these consequences through action and dialogue. The more aware your character is of their choices, the more motivated they will be to make a different one. That's how you create drama: with strong characters who experience something that affects them deeply. Then you need to show us how they react to this new information by writing details into the story.
Internal tension may be shown in Jack's desire to be leader yet having to settle for the job of head hunter in the tribe. Because Jack was used to being the leader, this caused him some internal struggle.
Another example is that although everyone wants to kill the pig, no one will do it. This shows that there is a lack of leadership within the group and they don't know what to do with the animal so they just leave it there.
Finally, when the boys go ashore they find lots of things that spark their interest. Some of these interests include women, food, and violence. However, none of them want to commit themselves to any of these things fully. This shows that the group was not ready to form a government yet.
As a result, "Eva must determine if she should complete the race despite the agony in her legs" is an example of an internal struggle. Because the conflict in this situation is between Eva's desire and Eva's feelings or body, the conflict arises from inside the character and is an internal conflict.
An external conflict is one where both the cause and effect of the conflict are outside the character. For example, if I hit you with my fist and you hit me back, that would be an external conflict because the cause of the conflict (my punching you) is not within your character and the effect of the conflict (you hitting me back) is not within mine. Internal conflicts arise within the character itself while external conflicts involve elements outside the character.
In the case of Eva, the internal conflict is whether or not to run the race when her legs hurt. The reason she can't simply get up and leave is because she doesn't want to let her partner down. She knows what will happen to him if she leaves so she must decide how to deal with her pain.
Internal conflicts are common in novels and films because they help characters grow by making them face their weaknesses and fearfulnesses head-on. Without going into too much detail, Eva's character develops as she faces her fear of running out on her partner and struggles with whether or not to run the race despite her pain.
Jenna is scared she isn't secure enough to address Ms. , which best expresses the internal struggles in this chapter. The disagreement or lack of support between the two characters is referred to as internal conflict.
Jenna feels like she doesn't belong at Ms. Morris's school, but knows that if she wants to get her acting career started, then it is necessary for her to be there. Thus, she must find a way to resolve her uncertainty about whether or not she can handle it.
Jenna has problems trusting people, but when Ms. Morris asks her to play Nancy for the school production of Nancy Drew, she cannot say no. This challenge means too much money for Jenna to pass up, so she decides to go through with it. However, this decision makes her feel even more insecure about herself because she knows she does not deserve such an opportunity.
Jenna is afraid she won't be good enough, so she pushes Nancy Drew to its limits by playing it dangerously close to the edge of violence on several occasions. This act causes her to question her own security since Nancy always seems to come out alive despite their many encounters with evil.
Jenna is trying to figure out who she can trust, but it looks like everyone else has something up their sleeve against her.