Category: Conflict in Reading

As reading and writing teachers, you might find that the fictional narrative writing unit, while creatively fulfilling, presents a consistent set of challenges. In addition to the typical teaching duties required of us, we have the added challenges of students who struggle to grasp the essential architecture of story (plot structure), and the common problem of students staring at a blank page—unable to start, and often unable to finish, their work in a timely manner.  It’s like leveling up to a more challenging villain in a video game.  

Students stare at blank pages. Few make it past the first paragraph. Others start, wander, and stop. Or maybe they finish — but the story has no real plot, no tension, no conflict, and no satisfying ending.

If any of that rings true, you’re not alone. Many of us face the same struggle, we want our students to write fiction, but time is tight, students don’t fully understand story structure, and getting started — let alone finishing — feels overwhelming.

These struggles are often interconnected, rooted in an initial lack of focused planning.  It helps to consider student’s executive functioning challenges when releasing them to writing independently. 

When students attempt to brainstorm randomly, they overwhelm themselves, leading to disorganized drafts and unnecessary length. This ultimately consumes crucial instructional time during the drafting and revision phases. 

To combat the “stuck” syndrome and structural confusion, a powerful strategic shift is required, we must teach students to reverse engineer their narratives. 

Instead of trying to find a conflict to fit a random character, the process starts with the kind of story students want to tell (the genre), which immediately provides the necessary constraints to define the conflict, characters, and setting. This small instructional pivot maximizes creative focus and structural efficiency.