So far, I've discussed conflict in terms of meeting challenges and obstacles. But there's another way to look at it: figure out what your character wants and don't give it to him. It's a nice trick because it starts with telling us something about the character, and, if you'll forgive the buzz words, it ensures the conflict will be character-driven.
Everybody wants something. From the basics of food and shelter to the more complex desires like love, respect, power, and adoration, every character has something they fiercely believe they need.
True story: I had been unemployed for months and was in danger of my unemployment payments running out when I finally got called in for a job interview. So naturally, I had a flat tire. I knew it was the interviewer's last available time slot, so I couldn't reschedule. Not enough time to call a cab, the upstairs neighbors weren't home to loan me their car, fixing the tire didn't work... Man, I wanted my shot at getting that job. And I actually did make it to the interview on time, but I had to work for it. See the dramatic tension?
It's a simple formula - don't give 'em what they want. In fact, it's a little too simple. It's fine for a very short story, but in any extended form (novel, TV series, movie franchise), it will become tiresome if the hero never gets anything he wants. It still works, however, if leavened with a little bit of success.
Take a classic romance plotline: Girl meets Boy. Boy is cute (and probably rich), but more importantly, Girl sees something in Boy that others don't -- kindness, perhaps. Boy has no idea Girl exists. Girl pines for Boy. This is stage one - she wants something she can't have. Girl works at getting Boy's attention, or is thrust into an awkward situation where they are forced to work together. Somewhere beyond the halfway point of the story, Girl gets Boy. Their love is recognized, acknowledged, and (depending on the age of the intended audience) consummated.
This is when Estranged Wife shows up. See, a single success doesn't necessarily end the story. Now Girl has to fight to keep what she wants. Or consider that maybe, having gotten it, what she thought she wanted all along wasn't what she really needed. Now we have opportunities for character growth.
And if all else fails, you can always ask -- what does my character want next?
1 comment:
I've heard J. Michael Straczynski of Babylon 5 fame say that the way to create drama is to run your main characters up a tree and throw rocks at them. I think you're right that another way is to have them desire apples from a tree they CAN'T climb. It can also lead to a very powerful moment when they finally get one.
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