Creative writing - Mike Sanders 2014
Creating and using conflict
Convincing character voice
Speech, voice, and point of view
Most all creative writing needs conflict of some kind. Without any conflict, narratives wilt, stagnate, and noticeably tread water—not exciting to read, to say the least.
The good news is that conflict can come from nearly anywhere, from anyone, and at any time in your writing, but you need to have at least a little conflict early on. Varied sizes and intensities of conflict can come all throughout a narrative and exert power over readers as much as any other writing device.
DEFINITION
Conflict is the heart of any narrative. Conflict can be between the protagonist and another character, the antagonist; between the protagonist and nature; or between the protagonist and society. The conflict can also be internal or psychological.
The type of genre you’re writing in plays a role in deciding the types of conflict available to you. Military and romance fiction have expected types of conflict: warring nations or factions, rival suitors or desires. The writing and action reflect the conflicts as well: hands attempting to choke each other and hands removing clothes. So a good place to start is by familiarizing yourself with the types of conflict that typically appear in your genre.
In terms of your own narrative, you should begin with a problem located as close as possible to the overall main conflict, but don’t jump in so quickly your reader will feel lost. Too much confusion too early won’t engage most readers, but using too much background information too soon can make interest wane.
WATCH OUT!
Conflict can exhaust a story—and your readers, if there’s no let-up or humor mixed in. So schedule the magnitude and force of the conflict at the correct places in your story. This can help you avoid the dreaded contrived conflict.
Conflict should have strong purpose—it should move your narrative along. Argumentative banter just for the sake of conflict appears contrived and even meaningless. Most importantly, your readers will notice this.
To combat that danger and to get you going, here are some of the archetypal conflicts that repeat across many narratives:
Man against man The ancient man versus man is one of the oldest conflicts. Cain and Abel both wanted approval; Achilles and Hector wanted Troy; in Swift’s Gulliver’s Travels, war broke out over how to crack an egg. Even in the last ridiculous example, a natural conflict arises from personal desires usually involving characters with powerful personalities.
Character against the world This approach involves placing your protagonist against high odds. Let the literary snobs and intellectuals say what they will, but nothing adds more conflict to a story than sheer survival. From The Swiss Family Robinson to Robinson Crusoe to Tarzan, survival of man against his world is epic. Even if you change the world for your character, as in 1984 or The Hunger Games, survival remains the basic driving force.
Unsweetened romance Sweet romances, often in the young adult (YA) genre, tend to be more on the less-conflicted side, but they should still have at least minor conflicts, such as multiple suitors. Romances with stronger, more mature themes have more choices for conflict. Try to stagger and strengthen these conflicts between characters, keeping their pining and yearning unfulfilled for as long as possible.
Throw rocks Chucking rocks at your characters is another way to afford your narrative liveliness. Conflict can arise from goals, other characters, time constraints, and environment. Run your protagonist up a tree or corner him and then let the rocks fly. And don’t be afraid of injuring or even killing characters; vengeance can serve as a most powerful form of conflict, and you can always work on further character development while a weakened character heals.
Of course, these types of conflict can be mixed together and applied to various characters. It’s also okay for more than one character to have the same goals and desires, as long as they pursue them differently. Maybe two men are in love with the same woman, two nations want the same strip of land, or two teens want the same spot on a cheerleading squad. Let clashes the happen, and use them to nudge each character and the narrative itself.
Inevitably in conflict, there are also going to be failures and setbacks for some of the characters. These reversals actually help keep conflict alive and the story moving. Think of all those successful romantic comedies that conclude with a wedding but then tally up all the adverse situations that occur along the way. Don’t let your characters ever get too stable, too comfortable. Keep them on edge, even if it’s an internal emotional edge, until the end.
Lastly, as in all writing, keep your ideal readers in mind when you create conflict. What might work for a sultry romance won’t be welcome in a YA novel, and what a younger reader sees as conflict might not be a challenge for a veteran reader. Know your intended readership and its general expectations. Otherwise, you’re going to have a conflict on your hands—one you’ll lose as a writer!
The least you need to know
· Mimicry is a useful tool for both learning to write better and for making your characters authentic.
· Contrast makes for more dramatic writing as a result of employing opposites.
· Ironic writing can generate both humor and deeper meanings.
· Conflict is very useful in moving along a narrative and holding reader interest.