In the last lesson we introduced the cycle of conflict, action, and resolution. This cycle begins when the character’s disappointed, ordinary life is first disrupted and continues until the moment when the book ends in success or failure.
If at any point in your story you cannot identify a current conflict, then you need conflict. Conflict is what drives the story forwards. Remember: a conflict is a want prevented by an obstacle. It is important to note that if the resolution is clear before the action, then there is no real conflict. What you’re aiming to achieve is this response:
“Oh no! How is the hero going to get out of this one?”
So how do you know if you have a conflict?
- First – ask who wants what? If nobody wants anything, you’re in trouble.
- Second – what is stopping them from getting what they want?
- Third – do they want it badly enough that they are prepared to risk confronting the obstacle?
What they are prepared to risk defines both how badly they want it and how interesting it will be for the reader. The risk must be subjectively important: a character who is constantly risking their life will seem to be taking less of a risk than someone who has never been in danger.
In turn, the obstacle must have a legitimate chance of both taking what they risk and preventing them from getting what they want. Otherwise there are no stakes. It isn’t a gamble if you can’t lose.
Finally, you decide what action they take in accordance with their personality and their flaws. Remember, for the first half of the book the protagonist’s (protagonists’ and antagonist’s (s’)) actions are principally driven by their flaw – and as such their “solutions” should make things worse even if they solve the immediate problem.
Exercise:
Write two examples (don’t bother with prose, just describe them as simply as possible) of someone risking something they care about for something they want. Post them below and I’ll respond 🙂
Example one should be low stakes – normally this will be because the thing they want isn’t important. A low risk of failure is less easy to manage without destroying the tension.
Example two should be the highest stakes imaginable. Tell me about someone risking something of crucial importance to try and win something that not only want but desperately need. The more imaginative the better – I want to feel the stress coming off the page!
Find out more about my (totally free) writing lessons here.
