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HA JIN: Tension and conflict from the first paragraph you must give the reader the feeling that what is at stake. That's very important. Then the reader knows this is something that's important, interestingly important so that they can continue to read. Also I think the piece has to have some tension in it. Otherwise the writing, the story will be very flat and not exciting anymore. So I think the reader-- the author intuitively, I think most good authors intuitively understand whether the story has enough tension or like electricity or power in it. If really that is somehow used up, you have to find a way to recharge it. For a novel where often that kind of power comes from the live drama, the plot or something, and so you have to come up with conflict or dramatic action to recharge the story again, and again. So that conflict is resolved, they resolved it, but also initially because it will be related. You know the conflicts they should not be isolated. The difficult part is not just creating the conflict, but how, when a pursuit naturally leads to another one, then another one. The logical, reasonable connection that is called dramatic development, that's the most difficult part. But on the other hand, that's not that difficult, because most people can learn it. Filmmakers and playwright, just because of the basic fiction writers, we all know this. That's a very basic concept. Intuitively sometimes, we don't know how to articulate but intuitively we can feel. We know that. And so that is how to create a line, a series for episodes, of course conflicts are part of it, but how to make them natural. One thing, one thing flows into another, into another, another. That is the important part.