Who likes conflict? It’s so darned uncomfortable. Full of raised voices, tears, harsh words, exasperation, confusion. Who hasn’t tip toed past a door to avoid such nastiness?
Thing is, the very thing we all try to avoid every day is the meat of story telling.
When a writer is struggling with conflict it manifests in the work in one of these ways:
- No conflict – high realism style. Characters talk, scenes are described, but nothing happens.
- No conflict – perfect-world style. The perfect character jumps from one victory to the next. Readers yawn in disbelief.
- Too much conflict – the sky is falling. The sky is falling! Repeatedly. But the falling sky never has an impact on the world in a way that you’d expect.
- Too much conflict – it’s not my fault. The main character is a victim who has no responsibility for anything in the story because they never do anything, other than sniffled and moan and whine.
I’m being hyperbolic here, of course, for the purpose of highlighting.
The most common form of this I see in manuscripts is 1) as it masks quite well as “stream of consciousness” writing. But a story without the shaping afforded by conflict is not a story; it’s a bunch of meandering words on a page.
So, how can you make conflict your friend and make your protagonists suffer the way people want them to in stories?
At a story-wide level, start by looking for the monsters under your very own bed.
In Going Sane, Adam Phillips wonders if creating art involves packaging things we find difficult to face in a form that is somehow reassuring. Taking monsters and making them something we can face.
When a writer is successful, stories allow the audience to practice facing conflicts in real life, making them more manageable somehow. Phillips summarizes the famous essayist Charles Lamb on this, which I’ll quote here:
“The sane genius transforms everything that might disturb us, “the wildest dreams,” into something that is familiar and reassuring. It is his artfulness that makes us feel at home; it is the weak writer who makes us feel estranged, or baffled, or lost.”
How can you use this?
For the story you are writing now ask yourself: What is it about this situation that I am frightened of and need to face?
Poke around in the idea of your story and look for the things that terrify you. Or those things that make you feel shameful. Perhaps you are trying to figure out a past relationship, or to figure out how to handle some aspect of your personality.
Your purpose isn’t to look at the struggle and become its victim. It’s to put on some galoshes and walk through the swamp of terror so you can figure out what facing this challenge means for getting through life. In other words, how can you find your way through the swamp as a hero who grows and changes?
What if your story is a tragedy? Then your tragic hero will put on galoshes, but some fatal flaw will have them make bad decisions with each step. In Woody Allen’s recent movie Blue Jasmine, for example, Jasmine is thrown into the gaping abyss and because she fails to admit she has any responsibility for where she is and what has happened to people around her, she keeps falling and falling and falling. A riveting and terrifying descent.
Once you understand the monster you are struggling with, you have the tools to figure out the plot points of your story. But that’s another post.