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Conflict makes the story interesting. If there's no conflict of some sort, if everything your characters want - they get handed on a silver platter, then you've got no story. Does the conflict(s) ...
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#4: Attribution notice removed
by
System
·
2019-12-12T21:57:34Z (over 4 years ago)
Source: https://writers.stackexchange.com/a/42080 License name: CC BY-SA 3.0 License URL: https://creativecommons.org/licenses/by-sa/3.0/
#3: Attribution notice added
by
System
·
2019-12-08T10:51:07Z (over 4 years ago)
Source: https://writers.stackexchange.com/a/42080 License name: CC BY-SA 3.0 License URL: https://creativecommons.org/licenses/by-sa/3.0/
#2: Initial revision
Conflict makes the story interesting. If there's no conflict of some sort, if everything your characters want - they get handed on a silver platter, then you've got no story. Does the conflict(s) have to include bigotry? **Not at all**. Jim Butcher's _Dresden Files_ series, an Urban Fantasy set in modern-day Chicago, include characters of every shape, gender, colour and species in sight. And I do not recall any bigotry whatsoever across 15 novels and two short stories collections. No bigotry in Asimov's multiple _Robot_ stories either, unless it is some people's suspicion of robots (but most of the time that's similar to people not liking TV or computers, when those were a novelty). If bigotry adds a meaningful aspect to your story, include it. Doesn't have to be real-life bigotry either: consider how in _X-men_, there's the negative sentiment towards mutants. If bigotry adds nothing, don't shoe-horn it in. There are multiple real-life issues you're not including. Why should bigotry get preferential treatment?
#1: Imported from external source
by
System
·
2019-02-08T22:55:14Z (about 5 years ago)
Original score: 7