kind of a side thought from a couple of my posts about writing but I think it deserves its own post, so here goes:
when youâre writing a conflict between two characters or factions of characters, you need to consider whether their disagreement over the premise or over the methods. put another way: do they disagree on the problem or the solution?
this is a genuinely tricky thing to identify, especially in very complex narratives, so letâs do some very simple examples.
the situation: pacifist nation X is about to be invaded by empire Y. the laws and cultural practices of the Xians make violence and death so abhorrent that even accidental death is as minimized as possible. the Ylings, on the other hand, are totally cool with straight up murder and think diplomacy is for wimps, but are also pragmatic enough that they wonât waste troops if they donât need to. the king of X calls in his council and asks for their opinions.
character A: It is more noble to die for oneâs beliefs than to live having broken them. We should allow the Ylings to invade us and if we die, we die.
character B: If all life is sacred, then our lives are also sacred. We must fight back against the Ylings, even though that means weâd be committing violence.
A and B agree on premise but not solution: they both acknowledge that the Yling invasion is a bad thing that will lead to their deaths if unopposed and that the nonviolence code is important; what they disagree on is priorities and methods.
character C: We should invite them into our nation as honored guests. Maybe theyâll spare us or at least kill us more mercifully.
character D: We should propose an alliance and intentional annexation in exchange for our lives. Being part of the Yling Empire is a pretty sweet deal, actually.
C and D agree on solution but not premise: theyâre both okay with just letting the empire walk in and invade, but C thinks the invasion would be a bad thing and is just trying to minimize the damage, and D thinks it would be a good thing and wants to maximize the rewards.
character E: We should fight the Ylings and stay a sovereign nation; the nonviolence code is stupid and holding us back.
character D: We shouldnât fight the Ylings and try to be peacefully part of their empire instead; weâd be true to our code and reap the rewards of an alliance.
E and F disagree on both premise and solution.
Now, all possible permutations of this argument are fine. âIs this the best way to solve the problem?â and âWhat actually is the problem?â are both great sources of conflict. Captain America: The Winter Soldierâs entire plot is an argument over the methods to prevent death and crime, but everyone agrees that crime is bad; one of Zukoâs big character development moments is when he realizes that the problem with the world isnât the other nations ungratefully rejecting the prosperity and unity offered by the Fire Nation, but that the Fire Nation routinely commits genocide in their quest to colonize the rest of the world.
The issue is when a disagreement over methods is treated like a disagreement over premise. The characters are positioned like one sideâs entire worldview is correct and the other is wrong, but it turns out they actually disagree with what the other does rather than what the other believes.
A big giveaway that what youâre seeing is about methods and not underlying beliefs? If at any point it is said or implied that one character âgoes too far.â âToo farâ implies a point before that cutoff that the other characters or the reader would be okay with. You canât go too far if going any distance in that direction is wrong. âFrollo in the Disney version of The Hunchback of Notre Dame goes too far when he tries to kill all the Romani in the cityâ implies that the problem isnât racism in general, but mass murder specifically, and that if Frollo was only nonviolently racist, that would be fine!
Like, you know the joke about the guy who offers a woman a million dollars to sleep with him, then ten dollars after she accepts the million dollar offer, and when sheâs offended and says sheâs ânot that kind of woman,â he says, âOh, we agreed you were that kind of woman, now weâre just haggling over priceâ? If your characters are arguing about the best way to solve a problem, they have already agreed about the existence and nature of the problem. Now theyâre just haggling over price.
Again: that kind of storyline is okay if you actually do want to discuss extremism v. moderation of the same basic principle. Itâs okay for two characters to argue over the best way to free all of their countryâs slaves. Itâs also okay for two characters to discuss the best way of practicing slavery, if you want to show how ingrained it is in society or how even the character you think is a moderate is still evil or something. What doesnât work is if your intention is to say how awful slavery is, but then the entire conflict is over the treatment of slaves rather than whether slavery is okay.
tl;dr: setting up the conflict as one over premise and then having all the action be a fight over methods undermines your story; at best itâs just confusing, at worst it turns your characters into hypocrites.
yousharknotpass
jacobvanloon
tangentwithtanner
