It’s ironic that something we try to avoid in the real world is the very thing we can’t get enough of in books. Psychologically speaking, though, it makes perfect sense. Books do not significantly trigger a reader’s fight-or-flight instincts, making it safe for them to experience conflict—after all, that bad stuff is happening to someone else. Yet, if the story is well written, it draws them in so they’re right there with the hero or heroine, feeling some of that dread, anger, and confusion. They identify with the character’s experiences because their own real-life ones have taught them the agony of uncertainty and fear and what it’s like to feel completely outmatched. 

In a nutshell: conflict contributes to reader engagement. 

And with all the books on the market, keeping readers involved and interested all the way to THE END should be one of our biggest goals. It’s crucial that we employ this storytelling element thoughtfully and purposefully, but with conflict in every scene—very often, multiple conflicts per scene—that’s a lot of drama. How do we keep those scenarios from becoming redundant, flat, or melodramatic? The key is to use different kinds.

The variety of conflict is what makes a story crackle with power—whether we’re talking about the ones at the heart of an overall plot, or scene-level complications meant to pressure the character and raise the stakes. The best stories don’t stick to the same type of conflict over and over. They pull from multiple forms that work naturally with the story’s main premise to hit the character from all sides. 

As Angela and I were writing The Conflict Thesaurus, we had so many options for scenarios that it became clear we’d need to categorize them to keep them manageable. Because we’ll soon be releasing Volume 1 into the wild, we’re going to spill some of the beans a little early and share the categories we came up with, along with a few of the book entries from each. This breakdown should give you an idea of the various kinds of conflict that are available so you can use a strong variety of scenarios in your story.

Relationship Friction

Relationship friction can be the good kind (lighthearted teasing between siblings or an intense glance shared by two lovers), but often it’s the other—the type that creates a bristly moment of silence after an argument or the sting of hurt when a secret is carelessly spilled. Conflicts that create problems in relationships result in your character’s emotions being easily activated, increasing the chance they will lash out, cross a personal or professional line, or make a mistake that leads to more trouble. 

Examples: A Romantic Competitor Entering the Scene, Losing One’s Temper, and Peer Pressure

Duty and Responsibility

Another way to bring conflict to your character’s doorstep is to think about how duty and responsibility can pile up and disrupt the status quo—especially when it comes to their personal and professional life. A career is necessary to pay the bills, but it becomes a source of conflict when the demands of the job leak into family life. Likewise, if the paycheck can’t keep up with the mortgage or one partner is carrying the biggest load at home, tensions will rise. 

When a character’s home—that most sacred and safest of places—becomes a powder keg, how much additional conflict will blow her world to bits? It won’t take much additional stress for her fragile ecosystem to shatter.

Examples: An Elderly Loved One Requiring Care, Having to Break a Promise, Needing to Disobey an Order

Failures and Mistakes

The aftermath of a failure or mistake can go one of two ways. If a character panics, their emotions go into overdrive and they become fixated on the worst-case scenario. They believe they must act immediately to prevent catastrophe, only they aren’t calm or objective enough to think things through. This usually lands them into even more hot water, which is bad for them but good for you and the story because…conflict! 

A failure or mistake is also an opportunity to learn and grow, so this is the second path characters can take. Failing hurts, but it can act as a checkpoint that forces characters to look at their route and make decisions. If a character reflects on what happened and realizes they need to try again, then we know they’re open to change. This becomes a powerful character arc moment. 

Examples: Dropping the Ball, Doing Something Stupid While Impaired, Getting Caught in a Lie

Moral Dilemmas and Temptations

A dilemma is when a person faces a choice between two values, duties, or convictions that align with their sense of integrity. Moral temptations involve decisions that push the character to choose between right and wrong. Sounds pretty straightforward, but the temptation part makes it anything but. 

Dilemmas and temptations—especially in extreme circumstances—can cause a character’s values to shift. Moral conflicts are not only great for forcing your characters to examine who they are and what they believe, they can also reinforce a story’s themes on right and wrong and personal identity. 

Examples: Being Offered an Easy Way Out, Leaving Someone to the Consequences of Their Own Actions, Having to Steal to Obtain Something Vital

Increased Pressure and Ticking Clocks

Sometimes you want characters who are working under pressure or a short timeline to rise to a challenge; other times you need to explore what will finally break them. Pressure can help you do both. It’s also great for creating tension for readers as they wonder whether a character can handle the new threat. How can they work past this new challenge? Can they beat the clock? This additional stress will keep readers turning pages late into the night, anxious to discover if the character can circumvent this latest development or not. 

Examples: Being Given an Ultimatum, Unwanted Scrutiny, Being Made to Wait

No-Win Scenarios

Sometimes you need truly agonizing conflict—the type that forces the character to choose between bad and worse. Lose-lose situations are especially dangerous because they bog characters down in an emotional quicksand of fear, obligation, and guilt. This negative psychological spiral often results in them sacrificing their own happiness and needs. 

Examples: Being Unable to Save Everyone, Being Set Up to Fail, Conflicting Internal Needs and Desires

Conflict is what we use to poke at a character’s soft spots, raise the stakes, and maybe encourage a specific path to self-growth. So when you’re choosing conflict options for your character, vary the forms. This ensures that the problems they’re facing will spread like cracked glass, threatening multiple areas of their life and making things exponentially more complicated and difficult for them.

PSSST! There are more categories, but this post was getting too long. We had the same problem with The Conflict Thesaurus, so we decided to split it into two volumes. Scenarios from the categories discussed here are included in Volume 1, which can help you brainstorm all their possible impacts on your character and story. The second volume covers additional harrowing categories, including loss of control, power struggles, losing an advantage, ego-related scenarios, and miscellaneous challenges.

BECCA PUGLISI

Becca Puglisi is an international speaker, writing coach, and bestselling author of The Emotion Thesaurus and its sequels. Her books are available in five languages, are sourced by US universities, and are used by novelists, screenwriters, editors, and psychologists around the world. She is passionate about learning and sharing her knowledge with others through her Writers Helping Writers blog and via One Stop For Writers—a powerhouse online library created to help writers elevate their storytelling.

The post Need Compelling Conflict? Choose A Variety of Kinds appeared first on WRITERS HELPING WRITERS®.

As a writer, you’re probably familiar with the term “character arc,” but what does a character arc entail? How do you structure this arc? And what informs the way your character changes, from the start of your story to the end?

While all characters in a novel can have arcs, it’s the protagonist whose change should be the most significant. Depending on genre and plot, your hero’s change might be subtle or life-altering. A suspense thriller or cozy mystery may show little character growth by the end, when the bad guy is caught or the mystery solved, whereas a thoughtful women’s fiction novel or relational drama may showcase monumental change.

But, in all stories, arcs are about change or transformation. And the stories with strong arcs show a character starting in what Hollywood movie consultant Michael Hauge calls identity or persona.

What makes for a great persona is a character who has suffered in his past and has developed a coping mechanism over time. This is his face he presents to the world that keeps buried his pain, fear, or hurt.

It’s human nature to deny and avoid painful feelings. But when we suppress them, it creates problems. We are never truly happy in our persona. It’s like having a tiny (or big) thorn in our toe that is festering. We keep our foot in a sock and walk around trying to ignore it, but it isn’t going to go away on its own. At some point we have to pull off the sock, look hard at the infection, then extricate that thorn and flush out the wound.

This gives us a blueprint for the process of crafting a strong character arc. While we understand coming up with “a wound” for our protagonist is key, we don’t want to make up any ol’ wound. We need to develop one that is intrinsically tied in with our premise.

I like to use Hauge’s Six Stage Plot Structure, which not only shows the key turning points in your plot and where they go, it also aligns your protagonist’s transformational journey with those specific events in your story.

In other words, your character moves from his persona to his true essence in stages, gradually and in a believable manner. People don’t change overnight. Events erode a person’s grasp on his persona until he can no longer hang on to it. By the end of your story, your character finds no safe haven in that persona any longer.

Let’s take a look at these six stages of transformation, using the movie Hostiles as a perfect example.

• Stage 1: This is your setup scene at the start of your novel. Your character is fully in his persona. This is the face he shows the world, and though it’s helped him cope with life, it has not brought him happiness.

In Hostiles, Army Captain Joseph Blocker has spent the last two decades fighting Indians, and he’s witnessed horrific things the Indians have done. He hates the Indians and cannot see past his hate to imagine they have any humanity or worth. Before he retires, he’s commanded to escort the ailing Cheyenne chief Yellow Hawk—his most despised enemy—to his ancestral home in Montana. He is fully in persona.

• Stage 2: At this stage (between the 10% and 25% mark), your character’s entrenched views begin to be challenged. He gets a glimpse of his essence, of who he could be, if he let go of his persona.

In Hostiles, Blocker’s hatred begins to crack when he witnesses Yellow Hawk and the other Indians quickly move to join in protecting their group, even killing other Indians in defense. This glimpse of integrity that he sees in Yellow Hawk sparks respect and challenges his core beliefs that all Indians, especially this one, are savages and nothing more.

• Stage 3: Somewhere between the 25% and 50% mark, your character, still in his persona and moving toward his goal, is gradually changing due to what he is experiencing and learning. A mentor or friend might mirror to his the way he is acting, pointing out how that’s not working for him. Or something someone says or does makes him stop and consider how his coping mechanisms aren’t making him happy. Think of creating a scene in which he takes the first step toward changing, or that shows he is already changing without realizing it.

In Hostiles, Rosalie, a woman whose family was butchered by Indians and who Blocker saved and has taken with him on this journey, has a deep talk with Blocker about life and spiritual things. This mirror moment gets Blocker questioning his life and values and begins to crack his hard shell.

• Stage 4: This stage comes sometime between the Midpoint and the Dark Moment (75% mark). Now your character knows he must embrace his true essence. He is not there yet, but he fully realizes his persona is failing him. He must get the courage to be true to himself and face the truths he hasn’t been able to face. Often this is where the character backslides into his persona again, where it’s safe. But it doesn’t work anymore. There is only going forward.

Rosalie and the two native women are kidnapped by a group of fur traders who come across them as they wash dishes at a creek. Alerted by Little Bear, Blocker and several of his men, as well as Yellow Hawk and Black Hawk, track them down. They find the fur traders’ camp and witness one of the kidnappers beating Yellow Hawk’s daughter. When the kidnappers return to their tents, the men sneak down into the camp and attack the kidnappers and kill them. One of the rescuers is killed in the struggle. This intense event, which throws the opposing characters together, uniting them in purpose and morality, causes a further transformation of Blocker’s character. The Indians are people who strive, who suffer, who take care of those they love. He sees they are not all that different from him. He’s almost in his true essence.

• Stage 5: This is the moment of arrival. As the climax barrels into him, he fully embraces his true essence, which gives him all that’s needed to reach his goal. He has everything to lose, but he goes for it. The final push to “arrive.”

In Hostiles, after a huge climax of death and mayhem, the group finally reaches Montana, and Blocker and Yellow Hawk, who is near death from cancer, speak. Blocker names some of the men he had lost fighting Yellow Hawk. Yellow Hawk responds by saying that he had also lost people. The two men shake hands in an apparent mutual act of forgiveness and friendship. When they arrive at Valley of the Bears, they bury the now dead Yellow Hawk using a traditional native burial scaffold. When white men approach and threaten them—mirroring the exact attitude Blocker had at the start of the story: hateful, racist, violent—we see Blocker take a stand, and he kills the leader of these men. Everyone in Blocker’s group is shot and killed except Rosalie and the young Indian boy.

• Stage 6: At the resolution, your character is now fully in his essence; he has transformed and sees the world and himself in a new, healthier light. He is honest and transparent about himself.

At the end of Hostiles, Rosalie boards a train with the boy, heading home to where she will raise the young warrior. Blocker says good-bye, but because he is now fully in his essence, wholly transformed, he cannot leave the woman he loves. He is now able to do two things he could never have done at the start of the story: be at peace enough to allow himself to love this woman he cherishes and decide to help raise an Indian boy. He has broken through his racism and hate by way of experiences that taught him the lessons he needed to learn, giving him understanding that had never been within his grasp. A powerful story with a perfect transformational journey for the protagonist.

When you sit down to work on your character arc, consider using the Six Stage Plot Structure. Brainstorm scenes that will showcase the specific stage your character is in, for each turning point in the story. Using this framework will not only help you write a solid story, it will aid you in crafting a believable character arc for your protagonist that will engage and delight your readers.

C. S. Lakin is an award-winning novelist, writing instructor, and professional copyeditor who lives in the San Francisco Bay Area. Her award-winning blog for writers, Live Write Thrive, provides deep writing instruction and posts on industry trends. In addition to sixteen novels, Lakin also publishes writing craft books in the series The Writer’s Toolbox, and you can get a copy of Writing the Heart of Your Story and other free ebooks when you join her Novel Writing Fast Track email group.

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For more information, in her new course, The Ten Key Scenes to Frame Up Your Novel.

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