CREATING CONFLICT
(how to plot good)
…
so you want to write a story. you have plenty of ideas about the characters, the setting, the way it all changes over time… but you’re at a standstill with the plot. it’s not interesting enough, not enough tension in there, not enough goes wrong.
if you’re anything like me, you’ve run into this problem countless times.
so here’s some tips on how to make an engaging, character-driven plot:
1. ASK THE QUESTION: WHAT COULD GO WRONG?
i’ll admit this is pretty generic advice, but hear me out.
plots needs problems, right? i’ve personally always found making things go wrong hard, and thinking like this helped me start coming up with much more interesting plots.
i started thinking: what’s the worst thing that could possibly happen, according to the main character? what’s the worst possible outcome in their mind, and how does this change over time?
(this establishes stakes, and gives you more of an idea of what matters to them.)
next, do this for a few other characters. this could help establish sub-plots, or just give some of those side characters more depth. and it doesn’t have to be anything huge, either. doesn’t have to be as big as the death of a messenger carrying vital plans for humanity’s survival, or a betrayal by an ally. the worst possible thing in the context of their world and the story could be their crush reading their diary, or getting stuck with their ex on a plane.
the point is, force them into a difficult situation. something largely out of their control, but where they still have choices to make.
2. ONCE ITS GONE WRONG, THINK ABOUT DIFFERENT CHARACTER RESPONSES
different people react differently to the same situation. people will have different ideas on how to solve a problem, and which problems take priority. this creates ample opportunity for conflict between characters, as well as for characters with little in common to form unconventional alliances.
the characters’ reactions to the problem and the choices they make after is the cornerstone of a good, character-driven plot. let them be put in an impossible situation and make choices that change them, or else further root them in their ways. let them make bad decisions, morally questionable decisions, relateable decisions. make those decisions cause more conflict and more problems than they solve, at first.
and, importantly - make them make sense with the characters, in the context of the story. selfish people don’t become selfless overnight, compassionate people don’t condemn thousands without trying everything else and being backed into a corner. there’s another thing - back your character into a corner. make them think they’re backed into a corner - but always give them that choice. many choices, even, if you can and it works. but their personalities and experiences will often make it so that only one choice is really clear in that moment in the story, and that is the hallmark of character-driven stories.
and don’t forget to think about the supporting cast, too - the antagonist should be faced with choices, too, as well as allies of your main character. internal conflict is just as powerful and creates just as much interesting and complex dynamics and tensions between the characters as external conflict.
3. THINK ABOUT YOUR END
(really i’d recommend you always start with your end in mind, but i understand sometimes the beginning and middle may come first to people. which is fine, but i’ve always found it harder to plot like that.)
so now you have a problem, and characters that need to react to that problem. now would be a good time to ask:
how do you want the characters to change throughout the story?
how would you like the story to end?
is there a message you’d like your readers to take away from the story?
(bare in mind you don’t need a message necessarily, not at this stage or at all, if that’s not the kind of writing you want to do. but some people have one in mind and now is certainly a good time to think about it.)
the answer to those questions should help you figure out which choices your characters are going to be making and which corners you’re going to need to back them into in order to get to your end point.
4. MAKE THE CHARACTER QUESTION WHO THEH ARE
this is honestly one of my favourite ways to create conflict in a plot, because it works so well. here’s an example:
pretend you’re writing a story about a young galactic war general, for example, well-respected and honourable but inexperienced in making difficult decisions. say they have a strong moral compass, and the deeply value their integrity and loyalty to their nation.
the best possible way to create conflict here is to back them into a situation where a clear right-or-wrong choice simply isn’t present. challenge their moral compass, and the integrity and loyalty they’ve so firmly made a part of their self-identity. make them question their superior’s choices, question who’s right and who’s not.
and then - and this is completely up to you - decide how they’re going to change from this. will they hold on to their loyalty, and continue to make increasingly questionable choices with less and less consideration of the consequences? lose their compassion and moral sense in the name of duty and responsibility? or will they go against their superiors and defect? do what they believe to right, risking everything?
this clashing of values is extremely effective, i’ve found.
(and if you wanted to be really cruel to your poor character - deceive them. make them make that difficult choice with the wrong information, or with a warped idea of the consequences.)
there should be plenty of characters involved here that want very different things, and have very different ideas about how to get there, creating more and more outside pressure as needed. some of them will have their own difficult choices to make so they can change in the way you want them too, end up in a situation where people switch sides or change their minds and allies become enemies, and vice versa. the important thing is, tho, to make the choices make sense.
(ie. give them a reason for going one way or the other. back to our general example: if they choose to conform and remain loyal, why? what tips the scales?)
i think that’s all i have for right now, but hoped that helped!!
