I may be a newbie writer, but I’ve spent many years’ worth of lunch breaks lurking around author websites like Jenny Crusie’s Argh Ink, hoovering up discussions about writing craft. You can’t do that without reading a lot about conflict, so when I sat down to write a story of my own, I knew conflict was important. I thought I had it covered, because for some crazy reason I had the impression that conflict was something a writer mixed into her story to make it interesting and tasty, like nuts and chunks of chocolate in a brownie.
I misunderstood, as I discovered when my first draft turned out to be a series of not-too-bad-at-all scenes connected by saggy bits and flat spots. The middle was one big, boring saggy bit. Luckily we talked about conflict and escalating tension extensively in class, took apart our favorite books and discussed our WIPs until finally I got the idea. Conflict isn’t some kind of extra you add to zhuzz up a story, it’s the basic mixture. If you get it right, it’s so irresistible it can make a reader wolf the whole book in one sitting and ask for more.
I’m revising my WIP now, and I’m going back to basics, in the form of two simple rules:
1 Story is character in conflict.
2 The story starts when the conflict starts and ends when it ends.
Conflict isn’t trouble, and it doesn’t have to involve arguments or physical fighting. Conflict arises when two characters each pursue a vital goal, and those goals are mutually exclusive. It could be two men who both want to find a sacred artefact (Raiders of the Lost Ark) or a young dance champion who wants to create new steps pitted against a bastion of the establishment who’ll crush any attempt at innovation (Strictly Ballroom). It doesn’t matter what’s at stake, as long as neither party can walk away, so the characters become locked in an escalating battle that can only have one winner.
Right now my heroine, Rose, has it much too easy. She suffers a few setbacks, but she doesn’t have to fight tooth and nail for her happy ending, so we never find out what she’s made of when the chips are down. Similarly, my hero, Ian, needs to feel a lot more pressure. At the moment his biggest problem is that he has to see beyond a role he’s created for himself. That’s important, but he could have a light-bulb moment one day, and the story would be over. I have to make the consequences for him much more severe, so that the hard choices he makes will reveal who he really is.
That’s my challenge for the next weeks and months. What’s yours?