The
critical fictional element
Whenever I talk to a writers’ group I
always ask, “What one element MUST all good fiction, and even most
nonfiction, possess?”
Usually I have to give a series of hints
before getting the right answer from somebody.
The correct answer is
CONFLICT. And it follows that the more intense the
conflict—the more that’s at stake for the protagonist—the more interesting the
fiction (or nonfiction) will be.
Why is this true? It’s because each of our lives is
a series of conflicts. We want to
attend two conflicting events on the same evening but we must choose only
one. Or we have the choice
of two job offers, or two or more
potential homes or vehicles to buy. We need to get to a distant city
fast, but we fear flying, posing a possibly intense conflict. We have a hard time getting along with a
person at work, a common stressful conflict. We want to live as long as possible, but we
know we must die one day—the ultimate conflict we all
face. Each of us is constantly
confronted with conflicts ranging from minor to major, and how we resolve those
conflicts is largely the measure of us.
Thus it’s understandable why we’re endlessly
fascinated by conflicts others must face and resolve. It’s why we follow the news each day, why we root
for sports teams, and why we can’t ever get enough of good
conflict-based fiction in books, movies, and TV shows. It’s why we love to see our
heroes and heroines overcome long odds to prevail.
There are only three broad categories of
conflict. 1. Person against person. (A sporting match, a political contest, a love
triangle, a protagonist against a villain, an activist against The System, any
war ever fought.) 2. Person against nature. (An attempt to scale Everest, an epidemic, a
farm family contending with drought, a trek through a desert or jungle, a
dangerous voyage.) 3. Person against self. (Someone fighting addiction or mental illness
or doubt or fear or despair.)
If you want to write a riveting short
story or a novel, choose one of these categories and pack it with as much
conflict as you can conjure up. It’s the
surest way to build wide readership. The
only constraint is believability.
The conflict must always be plausible within the story context. And of course the conflict must, in the end, be resolved.
Phil