Creating conflict (by Laurie Faria Stolarz)

The topic for this month is conflict. Why is conflict so important in storytelling? (Spoiler alert: because it simply is.)

Conflict is often introduced right from the start of a story – right after we’re introduced to the main character. It provides the question as to why we should keep reading. What is the question begging to be answered? Why should we turn the page?

 

Normally, this question involves two opposing forces. Someone wants something but he/she/they can’t get it (as someone or -thing is keeping them from getting it). And so begins the character’s journey in seeking to attain whatever it is they want, facing obstacles along the way, and learning whatever is necessary in the process. During that journey, the character will grow and, in the end, either attain the wanted thing or come away with some wise truth (or both). Maybe what they think they want will even evolve a bit. So many possibilities, but oodles and oodles of conflict nonetheless.

 

Conflict can be either internal, external, or both. A character, for example, who has a fear of heights, suffers an internal conflict of fear, while his external conflict might have something to do with traveling somewhere to attain something. For me, conflict is essential – and multi-layered - as it helps create suspense and tension by forcing the main character to face their inner and/or outer demon(s). In facing this/these demon(s), the character grows, learns, and comes away with a more evolved sense of self (usually). And, of course, we find out if they get what they want.

So, what to keep in mind when creating conflict… Decide what your character wants. Then, ask yourself why he wants it, and what will be in the way of him getting it (both internally and externally). 

Something else to think about: who are your other key players in the story? Do they pose any conflict for your main character? And, not just antagonistically speaking. I mean, yes, in many stories there is a definite antagonist. In a suspense story, for example, the main character’s goal is in direct opposition with the villain’s. But, how about your other characters? Do they have opposing goals to your main character's? Or viewpoints? Or opinions? Or agendas? How do your characters clash, even subtly? Or, what other obstacles are you putting in the way of your character getting whatever he/she/they want(s)? 

And, speaking of obstacles, as you work your way through a story, ask yourself: are those obstacles getting harder to hurdle? Is your tension increasing? Are the stakes raising? Are additional problems presenting themselves? Are hairier complications arising?

In the story I’m writing now, just when we think things couldn’t get any worse, they do, making it harder for the main character to envision getting what he wants. Bring your main character almost to their breaking point, as this is how/where they’ll learn the most and likely also face their biggest/darkest inner demon. In other words, things are vicious for this main character, yes, for sure. Now, how can you, as the writer, make them even more vicious? 

Something that also helps me, as a writer, is to think of my story as a movie. What is my set design? Can I find any conflict within it? To give a clichéd example, how about if you have a character who pulls over to the side of the road, having run out of gas on a dark and desolate road? What is your set design, and how can you make things go from bad to worse for your character? A cell phone that doesn’t have any juice? Or maybe the character has no cell signal. More... It could be raining/hailing/snowing. Maybe he just drank the last of his water. The road could be flooding. Maybe it’s flooding a ton, in fact, and he can’t swim and has a fear of water. Maybe he had some traumatic experience in his backstory involving water and so now he's triggered. Maybe there’s nothing else around him for miles. 

Note, all of these things aren’t necessarily part of the major conflict of getting what he wants. For example, maybe what he wants is to be with his high school sweetheart whom he thinks he loves after all these years but in fact she's not interested or already involved with someone else. But they’re obstacles that keep him from getting wherever he needs to be to face that major conflict. Meanwhile if he faces fears related to the situation, they’re also pulling at his internal conflict. And, who knows, maybe what he thinks he wants is the high school sweetheart, but maybe what he needs is the person he’ll meet along the way who helps him see the world anew. 

So many possibilities.

Hope that helps. Happy conflict-building!