Life causes a great deal of conflict. Some are life and death situations and others are only important to ourselves. Conflict leads to growth or experience and no novel is complete without it. So, what is conflict? Debra Dixon states, “Conflict is the why not.”
Know Thy Conflict
Conflict is the reason why your character can’t have what they want. In your novel, you, the author, must know and define what your character’s conflict is. By knowing the character’s conflict you know what is at stake for your character. Your character must face the obstacle preventing him from attaining his goal.
Bump In The Night, Day, and Everywhere in Between
Your character’s GMC must bump, bang, and crash into each other. As these three letters are explored in your work, your character must be tested and with each test, your character will grow, develop and reach the goal most desired. These conflicting forces of your character’s GMC will make the character see if they truly wish for what they desire. This makes the character look deep within themselves and that’s internal conflict.
All in the Inside
Internal conflict is what stops our characters from learning their life lesson. Your character may have one goal he admits to the others such as Lord Bridgerton announcing that he will marry. But his internal conflict—the belief that he will die young like his father—stops him from pursuing the woman he loves.
Internal conflict is the emotional turmoil that causes us and our characters' problems. It also stops the character from learning the life lesson. And for a satisfying end, the character must learn their life lesson.
War Games
Now you have to put it all into practice. In Goal, Motivation and Conflict, Dixon writes, “lay a foundation for conflict, create believable goals, motivate the characters, and nurture the conflict to the inevitable crisis or climax.”
Most writers know that to have an interesting story which draws the reader in, you must have conflict.
Conflict = story.
One way to have conflict is to make your main character an underdog.
Why an underdog?
Because people love to root for an underdog.
Example: Remember Charlie Brown, trying every year to kick that football? Didn’t you root for him, even though you knew Lucy would pull that ball away each and every time, he tried to kick it?
That’s conflict.
Let’s face it, no one wants to root for Ken and Barbie who live an idyllic life in the suburbs.
In my short story, Cowgirls Don’t Cry, I have my heroine, Gwen have a bad day:
Cowgirls Don’t Cry:
Arthur helped Gwen into her jacket and sniffed her hair, getting a lungful of cherry blossom from her shampoo. “Your jacket does nothing for that sexy dress.”
She slipped her arms into the sleeves. “Sorry, but it’s all I have.”
He settled the coat on her shoulders. “I’ll have to buy you another one.”
“It never ends, does it?” Mr. Ortega shook his head before stepping through the doorway.
Gwen flipped her dark hair out of the coat and glowered after him. “Client of yours?”
“Yes. What are you feeling?”
“His disdain for women is like a throb in a bad tooth.”
A chill flowed up his spine. “What else?”
Gwen met his gaze. “Whatever he’s done, he’s guilty as hell.”
That left him stunned, but he had no reason to doubt her. Understanding emotions was Gwen’s talent. Feeling eyes on him his gaze met those of the secretary, Mrs. Blackstone.
She stopped by a white, king cab truck and was in the process of digging out keys from her purse. “I don’t appreciate being laughed at.”
“I know.” He jogged the last few steps to her, still putting on his overcoat. “We should have discussed what you were getting from my client when we got outside.”
“You are representing him.” She clicked her key fob. The truck’s interior lights came on and the door clicked. The truck had the name ‘Clarkson Ranch’ on the door in dark-blue letters.
He stared. “When did you get a new truck?”
“Steve gave it to me today.” Her smile was equal parts sadness and pride.
“It’s official?”
“Yes, he saw his lawyer about his living trust and it’s a done deal. I’m officially my stepdad’s heir. He even introduced me to the hired hands. I also had to quit my waitress job and drop out of college.”
He took in her sad expression and hugged her. “I’m sorry. I know how much school meant to you.”
“I wanted so much to become a professional artist.” She shook her head. “I’ll never get the chance now.”
***
Another way to have conflict in a romance is to have newly divorced Ken, (Barbie ran off with G.I. Joe), have a miserable day—conflict.
Example: Say Ken’s Porsche breaks down on the way to work and he has to have it towed. As he waits impatiently for the tow truck driver, he’s mentally marking off all the things that went wrong that week (conflict). Just after he’s comes to the conclusion that he is alone and unloved the tow truck driver arrives. But a pretty woman steps out. It’s P.J. The baggy coveralls can’t hide her full figure and the grease smudges on her cheeks can’t cover up her lovely face or her Malibu tan.Maybe P.J.’s father or uncle owns the business, or maybe she owns it herself.Or maybe she’s not a tow truck driver, but a pick-up service for a car rental agency.
So, Ken thanks his lucky star that he’s spotted this beauty, but when he asks P.J. out she turns him down—flat.
Why? Conflict.
No conflict—no story.
In Cowgirls Don’t Cry, I have Arthur’s father getting overly involved in his grown children’s lives.
Why? Conflict.
Cowgirls Don’t Cry excerpt:
His father, Ector Castel, had his back to him as he spoke to his sister. “I think you should marry Roger Clemens.”
Arthur frowned. Clemens is the senior partner at my law firm. The guy is way too old for Melissa.
Melissa crossed her arms and glowered at their father. “No, Dad. He’s white-haired and wrinkly. I have no desire to be saddled with a senile old man.”
“Your makeup business is not producing enough of an income. You’re pretty enough to be a second wife for someone of means. And Roger will provide well for you.”
“That’s a no, Dad. I’m not going to be a trophy wife.” When her gaze swept in Arthur and Gwen’s direction, Melissa’s sour expression changed into a grin. “Arthur, Gwen. You’re here.”
“Had to stay a little late today because of a meeting with a client,” Arthur said by way of a greeting.
“Now, that’s what I like to hear. My boy is going places.” His father slapped him on the back.
Gwen raised an eyebrow. She didn’t understand their relationship, so he let it go. If it came up later, he’d explain then.
“Dude.” Will, his little brother, walked over and offered his knuckles in greeting.
Arthur did a fist bump with him.
His stepmother Stephanie leaned into the kitchen. “Our guests have arrived. You can serve the meal now.”
The family took seats around the table. Soon one of the female servants brought out a huge bowl of salad and started to serve everyone.
“Son, you have something to announce?” Ector took his seat at the head of the table, and Stephanie sat next to him. “I know it’s too early to be offered a partnership. You’re still a junior associate at your firm.”
“How wonderful.” Melissa clapped her hands. “You two make a perfect couple.”
“That’s great!” Will grinned. “Welcome to the family, Gwen.”
Stephanie, as usual, said nothing and looked toward Ector.
Ector Castel grimaced. “Are you sure about this, son?”
***
Whatever your conflict is, you’ve got to either keep it going or bring in some new conflict. New conflict is great, especially if you overlay it with the old conflict.
Example: Charlie Brown gets depressed about not kicking the football and visit Lucy at her psychiatrist’s help boothto tell her all his troubles. Then she basically calls him a loser.
Why? For additional conflict.
Lucy is the antagonist; her job is to cause conflict.
Back to Ken. He’s finally got P.J. to go on a date with him. All’s great in Ken’s life, right?But what if her business partner doesn’t like Ken and tells him so right to his face?
Why? For additional conflict. That partner is the antagonist for Ken’s story. He’ll keep poor Ken on his toes for the rest of the story.
In Cowgirls Don’t Cry, I have Arthur’s father disapproving of his choice in brides.
Cowgirl’s Don’t Cry excerpt:
“Gwen is still a poor college student.” His fatherslammed his fist down on the table. “She has nothing to offer you.”
Gwen had flinched at Ector’s show of anger and, being empathic, probably felt it, too. She stared down a moment at her untouched salad. “As of today, I’ve withdrawn from college and quit my job. I’m officially Steven Clarkson’s supervisor at his ranch. He’s teaching me how to manage a huge estate, so when I inherit it I can run it.”
“It’s a million-dollar property, Father.”
“Um, no.” Gwen glanced over to him. “It’s been recently reevaluated for his living trust. It’s actually worth four million.”
“So, you see, Father, Gwen is worth four million dollars. Isn’t that something to offer?”
“Where are you going to live once you marry?” Ector’s voice took on a sarcastic tone. “At the farm or the condo?”
“Steve has already given me a three-bedroom, two-bath house on the ranch.” Gwen cleared her throat. “It’s being updated.”
“Updated?” Ector echoed. “You mean renovated?”
Gwen nodded. “With hardwood floors, granite counter tops, new cabinets, and a larger master bedroom with a bath that’s connected to it.”
“That’s called an ensuite,” Melissa said in a low voice.
“Um, yeah.” Gwen nodded. “My mom has really good taste and she’s picking out the furnishings.”
“I’m sure you think so.” Ector switched his stern gaze to his son. “Steven Clarkson is a healthy fifty-year-old. He probably has another twenty years in him at least. Are you willing to wait that long, or longer, until her inheritance comes in? No, Arthur, she isn’t for you. You need a wealthy woman, or one who will help you politically. Not a child with more dreams than brains.”
See, conflict. Now, hopefully, you feel for my heroine and hero and want to know what happens next and will want to read on.
I hope this helps you with your own writing.
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In any story you read, there’s conflict or should be.
Conflict leads to tension and tension leads to darn good story telling.
No tension, no story. It’s as simple as that.
In Windswept Shores, my heroine, Megan, thinks her husband is still alive even though she saw the plane sink underneath the waves. She tries not to fall in love with the hero, Seth.
Another thing weighing on her mind is her husband’s unfaithfulness. She’s a moral person, so how can she be unfaithful like her husband had been to her?
Of course this is a romance, so feelings are bound to happen.
Excerpt:
“How’s the leg?” Seth asked.
“Better. It doesn’t hurt.”
“Let me have a look.” He removed his blood stained shirt, washed his hands, and sat sideways at the dining table.
Megan walked over, showing him her injured thigh.
He pulled her closer so she stood between his legs. Running his hands down to the bandage, he asked, “Megz, have you been shaving?”
“Um, no.” She gazed down at his warm hands on her tanned skin.
“Blimey, no hair or stubble. Not even one.” He carefully examined her leg.
“That is the wonders of modern technology.”
“Howzat?” He furrowed his brow.
“I had my hair removed with laser treatments.”
“Smooth like a baby’s bum.” He grinned. Gingerly, he took off part of the tape so he could peek under it. “It looks a bit better. Just a small pink ring around the wound, but it has a decent scab.”
“Oh, good.” She briefly closed her eyes as relief washed through her.
He smoothed the bandage back down, then smiled at her.
“I want to thank you for taking care of me.” She cupped his face, leaned down, and kissed him on the forehead.
“Try a little lower, love.” He tilted his head back.
“Well, since you went to all the trouble of shaving.” After a moment’s hesitation, she bent down, giving him another kiss on the lips.
The moment she did, his arms went around her waist. Seth pulled her against his bare chest. He deepened the kiss, brushing his tongue against hers.
Megan melted against him, making a small noise in her throat as an incredible flare of desire took her completely by surprise. The kiss was long, deep and very intense, while his large, warm hands slipped under her shirt, massaging her back.
Megan pulled back, looking down at the passionate expression in Seth’s gray eyes. “That was…”
“Bloody amazing,” he finished for her.
Megan’s eyes went wide. She took several steps back out of his embrace. She leaned against the counter. “Oh, I really shouldn’t have done that.”
“Don’t whinge, love. You needed that and so did I.” He gave a lopsided grin.
Megan found she wanted to trace his full, kissable lips with her fingers. Oh, no.
She ran outside, breathing deeply of the clean evening air. What’s the matter with me? I’m married. You don’t kiss other men when you’re married.
“Megz,” Seth called, ducking as he stepped through the doorway. “It’s okay, love.”
“No, it’s not.” She wrapped her arms around herself, even though she really wanted to throw them around Seth. Megan bit her lip. This wasn’t supposed to happen. I shouldn’t feel anything for Seth. He is a big happy-go-lucky lug, also handsome and sexy as hell. Oh, damn.
He walked up behind her, placing his hands on her shoulders, sending warmth right through her. “When’s the last time you and your bloke threw a leg over?”
“That’s none of your business,” she snapped. Heat rose to her face.
“Megz,” he said gently, “ya act like yer haven’t been touched in a very long time. A lot longer than the two weeks that yer been here.”
She didn’t answer him. He’s right. Jonathan hadn’t slept with me in six months. I must be touch hungry. “Are we going to cook that pig or what?”
———————————
Most of us don't have a lot
of discord (there are exceptions and those people could write books about
themselves) in our lives, but to write a story without conflict would be
boring.Author's who write page turners
add a lot of tension.Conflict can raise
the stakes in any story.There are many
ways to do this. I write romantic suspense, so I always have the element of
danger in my stories.
Danger can come from many
sources such as a serial killer, an avalanche, a tsunami, earthquake, a fight,
war, stalker, etc.Running for your life
can definitely add tension.I have named
a few, but there are many more too numerous to mention.
Another way to add conflict
is to have your hero and heroine work against each other.An example:Hero is a contractor who is determined to build apartments near a
housing district, and the heroine is head of the neighborhood watch in the same
area.She gets a petition started
against the building because she believes it will bring in the wrong element to
their community.
Another example:The hero is a fisherman on the GulfCoast, and the heroine is the spokesperson for an oil
company defending them after an oil spill in the gulf.Just think of all the tension you can build
in these scenarios.
Another type of conflict is
inner conflict.This is when a
hero/heroine fights against the attraction they feel for one another.This is inner conflict.One or the other, or both may feel they
shouldn't get together because they don't trust the other, or they may have insecurities
they're fighting against. There are numerous reasons why they aren't able to
get together, especially, when they are at odds like in the examples
above.
Secondary characters can add
conflict: for instance an ex can come into the picture and cause all kinds of
problems, or it can be a pet, a child, a job, a hobby, etc.There are all kinds of ways to add tension to
your story, so readers can't lay your book down until they finish reading the
last page.
You can use multiple
conflicts in your story, but you shouldn't overload your book with so much that
your reader gets tired from running all over the place.The tension in your book has to be realistic,
or your reader will be pulled out of the story and think the author is
crazy.In other words, life doesn't always
make sense, but your book better be logical, or you've lost your reader.
I have touched on a few ways
to ratchet your story up, but there are many more.
Good luck to all the writers out there, and thank you for reading my post.
A local newspaper in my area is sponsoring a pet calendar contest and scoring big bucks with votes for a quarter apiece. 85 initial entries will be voted on until only twelve remain. 6012 votes has garnered first place for a cute little Yorkie. That honorary position cost voters $1503. Now, I love my cat and dog, and I entered pictures of them in the contest, but I don't have nearly enough of a competitive spirit--or willingness to spend my money to assure that they'll be in that top twelve--to contribute more votes.
I discovered early on in my writing life that aspects of my personality, good and bad, bled over into the characters I created. The not having a competitive spirit for instance. Perhaps because I never have played team sports or been involved in an activity that requires a driving need to win is why I simply don't have it. Now, competing with myself, that I do. Every day I challenge myself to complete goals with my writing, editing, exercising, whatever needs to get done at my bookshop, even down to learning the next line of a piano piece I'm working on.
Not having that competitve drive stems from an abhorence of conflict. Maintaining the peace and avoiding turbulence goes back to forever ago and has stayed with me all my life. I suppose I shouldn't have been surprised when, in Water Music, the first book I wrote, I struggled to the point of tears to have my characters at conflict with each other. Such a vital component of a tale and I battled with it. I knew conflict equalled drama, had to have it, but I didn't want my protags angry with each other, or be shaken by unkind words or overhear a hurtful remark, even though I knew all would work out in the end. Now, inner conflict I could do without going through a case of tissues. Developing a character at war with him/her self to overcome something that holds them back from gaining what they want, or goal they must reach is not a problem. But two characters arguing or not speaking to each other because they're angry is so difficult for me to write. Spending time on such a scene alters my mood for the rest of the day.
Since writing that first book I've learned there are many ways to create conflict without characters dragging out the battle axes. It's born out of human characteristics and events that don't have to be soul shattering: misunderstandings, man against nature, man against himself, revenge, self-preservation, greed, duty, love, and self-discovery. Any of these can work as a source of conflict but it needs to suit the character. Having a greedy hero or vengeful heroine are traits I'd avoid. I like to reserve those for the subplots and secondary characters. I can give the bad guys all sorts of conflicts without batting an eye or dropping a tear.
My vote is for love, peace and understanding any and every day, but I know for the sake of drama I have to have conflict amongst my pages. How easy or difficult is it for you to build conflict in your stories? Do you get a knot in your stomach like I do when your book characters are at odds with each other, even though you know you'll soothe the hurt feelings in a later chapter? If you have to mentally prepare to write such scenes, what do you do?
