Novel Boot Camp #4: Creating Conflicts

14582613060_bdf9bf5018_oConflicts seem pretty straightforward. As people, we encounter conflicts all the time so we feel like we’re pretty much experts on the topic. But often aspiring writers do not think about conflict in the right way.

If you aren’t defining conflict accurately, your novel is going to lack tension, suspense, and structure.

So what is the real definition of conflict?

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Novel Boot Camp – Lecture #7: Be Ruthless


Writers love their characters. I mean, they really really love their characters! Some of them daydream about their characters throughout the day. Others hear their characters talking in their heads. And most authors say that they put at least some tiny piece of themselves in every character.

So because writers love their characters so much (and may even view them as an extension of themselves), sometimes they’re a little too nice to them.

I mean, when you love someone, you want to see them happy. You want their lives to turn out beautiful, all wrapped up with a nice tidy bow.

But this is not what novels are about. Nobody wants to read about a life sprinkled with rose petals. In order to write a great novel, you must be willing to beat the crap out of your characters. You have to give them hell. Throw them through the wringer and meet them with a sledgehammer at the other side.

You have to be ruthless.

Here’s how:

Write What You’re Afraid to Write

We’ve all had good and bad experiences that shape who we are. These experiences can cause us to shy away from certain subjects – either because they are so frighteningly foreign or so terrifyingly familiar.

These things can be big or small, serious or light. They are things so far from our plotting radar they don’t even enter our minds as we write, or they might be things we think of but dismiss. “I could never write about that!”

They could be things we’re afraid of: needles, the dark, spiders, clowns, freak accidents.

Or they could be things that just seem too harsh or unfair: the death of a loved one, abuse, divorce, infidelity, a terminal disease.

These things are scary, especially when they’re happening to our character (who, admittedly, as at least a little bit like us). Writing these scary elements or events into our novel can hit a bit too close to home. It can make us uncomfortable. But it can also make for an interesting and complex conflict.

Sometimes our plot needs something that’s hard for us to write. Consider the topics you’re consciously or subconsciously avoiding. Not only are they emotionally charged, but the terror that you feel about them can translate into tense and emotional writing.

Hurt Your Protagonist’s Heart

We’re all pretty nice people who don’t like to trample on anyone’s feelings. But this can make us really bad plotters when we want to coddle and protect our characters from broken hearts. And I don’t mean in a purely romantic sense. Broken hearts can come from all sorts of experiences and relationships.

The very best novels trample all over the hearts of their protagonists. They don’t pull any punches. They don’t wrap their protagonist in a cuddly blanket and push a mug of hot cocoa in their hands. They let the terrible things in the world rip them to shreds.

Never be afraid of breaking your protagonist’s heart. Let them taste their goals and then smash their dreams. Don’t worry, you can always build them back up later.

If you don’t let them go to those dark places, at least for a while, there’s no satisfaction for the reader.

The novel is your character’s journey. Give them a wild ride, not a pleasant trot across flat terrain.

Avoid the Impenetrable Protagonist

For those writing novels with a lot of physical challenges – natural disaster, hard labor, fighting, etc. – don’t shield your protagonist from injury. There’s nothing quite as artificial as a protagonist who runs barefoot through the woods getting chased by a murderer in the hot August sun, yet gets nary a scratch.

Do not wrap your protagonist in bubble wrap! They’re human beings, not androids. If you throw them into a pit, their legs should break. If someone punches them, they should get a black eye.

Overly protecting a protagonist is especially apparent when other characters do get injured. If your protagonist makes it out of every scuffle without so much as a bug bite while everyone else is holding their guts inside their slashed stomach’s, readers are going to call your bluff.

And besides, even if it does come off okay that your character doesn’t get injured, you’re still reducing the obstacles in their path. Make them bleed! Break their bones!  Your readers will love it.

Give Your Antagonist the Advantage

In a fight between a little girl and a sumo wrestler, it’s obvious whose going to win. If the little girl is your protagonist, awesome! If she’s the antagonist, suddenly she’s super-duper lame.

To create a satisfying battle (whether it’s physical, mental, or emotional) between your protagonist and your antagonist, the antagonist must (at least) be an equal match to the protagonist. Ideally, the antagonist should be the stronger, faster, smarter, savvier of the two. Yes, he/she will have a weakness that the protagonist uses to beat them, but in all other areas, they should be equal to or superior to your protagonist.

One way of going easy on your precious characters is to put an antagonistic force in their path that is easy-peasy to defeat. No! Don’t do this! The reader should believe that defeating the antagonist is impossible. If you match your sumo wrestler protagonist with a little girl antagonist (unless she’s evil, possessed, or an android), the battle is going to feel bland, boring, and totally unsatisfying.

Make Your Antagonist Act

Sometimes we get our protagonists into sticky situations where the antagonist clearly has the advantage. For example, the protagonist is tied up, handcuffed, locked in a jail cell, cornered, or battling without a weapon.

Those writers who are being too easy on their characters will often end up with the antagonist in this scene doing nothing! He will circle around the character, say some mean things, maybe swing his weapon around a bit, but will ultimately be foiled because he fails to actually ever do anything.

Don’t let your protagonist win just because the antagonist is an idiot. This might give you an opportunity to avoid hurting your precious main character, but the reader will call you out on it. “Why didn’t the bad guy just stab him? He was right there!”

We’ll be talking about antagonists more soon (*cough* tomorrow). But I want you to get started thinking about the role of the antagonist in putting your character through the wringer.

Homework: Give Your Character Hell

The homework has been a lot more challenging this week, so I wanted to give you a tiny break with something not quite so hard.

Ask yourself the following questions:

  • What is the worst thing that could happen to my character emotionally? Have you delivered it? Could you edit the novel to add it in? If not, could you add a tamed down version of it in?
  • Are there any scenes where the character should have been injured but wasn’t? Could you add an injury? Even a minor one?
  • Overall, are the obstacles in your character’s path a bit too easy? Do they create a legitimate challenge and carry a reasonable amount of risk (emotionally or physically)?
  • Is the antagonist as strong or stronger than the main character? Do their encounters/battles legitimately challenge the protagonist?

Connect with Other Novel Boot Camp Participants

Need a writing friend? Got a question? Need a shoulder to cry on? We’re there for you!

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I will be answering writing and editing questions on our Twitter hashtag as time allows. Due to the insane volume of emails I’m receiving, I cannot provide free advice or assistance via email. Thank you!

What is Novel Boot Camp?

Novel Boot Camp is a free online novel writing course focused on identifying and correcting problems in your novel. Learn more about Novel Boot Camp and find past (and future) posts here.

How to Spot a Bad Scene or Chapter

image by christgr

Writing great scenes is essential to a great novel. After all, a novel is nothing more than a string of scenes tied together with common themes, goals, and characters. But it can be easy, as a writer, to create scenes that aren’t really scenes.

But what makes a scene a scene? Well, most importantly, it has to take us somewhere. It has to move the plot forward. Something has to happen that changes things for our characters. And the characters within the scene must want something. They must have desire.

So how do you identify a scene/chapter/section that’s not a scene? Here are some indicators:

Character Introductions

Not all character introductions are a problem. But if a character is introduced within a scene that has no purpose other than to introduce the character, it’s not a real scene.

Even the first time we meet a character, there must be conflict of some variety and there must be character motivation or desire.

Motivation-less Dialog

If your characters are sitting around talking about something they both already know about, with no new information or perspectives, coming to no new conclusions or resolution, you’ve written motivation-less dialog.

Image by Brian Boulos

Characters Contemplating

This happens when you need to get something across to your readers that your character already knows. Perhaps it’s a bit of backstory, an emotion, or a character quirk.

You’ll know you’ve written a contemplation scene if your character is just sitting around thinking . . . a lot . . . and doing nothing else.

Easy Plot Advancement

If all your character has to do to move the plot forward is ask someone a straight question and get a straight answer, that’s easy plot advancement, and it’s not a real scene. A scene requires conflict. But that doesn’t mean that everything your character does must be difficult.

The key is to find places to create tension. Perhaps the person she gets the answer from requires her to pay for it, but she doesn’t have any money – uh oh, conflict! Or perhaps he lives in a tall tower and she’s afraid of heights. Or maybe he’s repulsive but wants a kiss in exchange for the info.

Get creative! But also choose things that make logical sense within the context of your characters and story.

Identifying “Fake” Scenes

If you’ve identified any of the above scenes in your novel (or if you have any other scenes that don’t ring true), here are some questions to ask yourself:

  • If I were to remove this scene, would it have any impact on the story or the reader’s ability to understand it?
  • Is there a conflict in this scene? Is something stopping the character from reaching their goal?
  • Does the character have an active motivation or desire?
  • Is there tension, intrigue, suspense, or something else to capture a reader’s attention?

If the answer to any of these questions is no, consider whether you can move the information within the scene to another, better developed scene.  If that can’t be done, come up with a way to restructure the scene so that you can answer these questions with a yes.

If you’re having particular difficulty identifying whether scenes need to stay or go (or if something just feels off about your novel as a whole), it wouldn’t be a bad idea to go through each scene in your story with these questions.

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