E2K: a journal for the new literary paradigm

Most people go to incredible lengths to avoid conflict. But not writers. Like crazed addicts, they seek out criminals and earth-destroying comets and place innocent children in the hands of kidnappers, forcing them to stay until the last unnerving moment. They might even attempt to destroy the world. Why? Because writers know that conflict is the key to a successful story.

There are five basic conflict categories:

character against God-made crises (nature, disease, and sickness);
character against unknown (space, spirit world, fantasy);
character against character (protagonist, antagonist, hero, villain);
character against society (law, government, religion, rules, authority); and
character against self (insecurities, disabilities, physiological, emotional).

These categories can be further summarized into two classes: External Conflict and Internal Conflict.

EXTERNAL CONFLICT occurs outside the character's mind and is beyond his control. Examples are god-made crises, the unknown, society, murder, espionage, robbery, stalkers, rivalry, competitions, other characters, and so on. EXTERNAL CONFLICT can cause INTERNAL CONFLICT.

INTERNAL CONFLICT occurs inside a character's mind, such as jealousy, envy, love, anger, hurt, fear, insecurity, phobias, rejection, etc. Characters can control how they deal with conflict, whether internal or external. INTERNAL CONFLICT can cause EXTERNAL CONFLICT.

Let's look at a few examples.

CHARACTER AGAINST GOD-MADE CRISIS

Our character in this scenario will be Thomas. When a forest fire (external conflict) threatens the home he worked years to build, he's determined (internal conflict) to save it no matter the cost. His refusal (internal conflict) to evacuate the premises causes his wife's anger (more external conflict). He is forced to decide what is truly important (more internal conflict): saving his home or his life.

CHARACTER AGAINST CHARACTER

Meet main character Brenda, a teenager determined to fit in with the clique. Already dealing with self-esteem issues (internal conflict) accompanying this age, Brenda's ability to deal with these issues is deteriorated (more internal conflict) by her father's domination (external conflict out of Brenda control) and her mother's pre-occupation with acceptance of society women (more external conflict out of Brenda's control). Brenda turns to peers (external conflict) to escape her mother's pre-occupation (more external conflict) and her father's unnerving domination (external conflict out of Brenda's control). Her best friend (yet another external conflict) is as plain as a wallflower, but a devoted friend. Will Brenda choose (internal conflict) her best friend (external conflict) or give in to peer pressure (external conflict) to be a part of the in-group? Can she confront (internal conflict) her mother's insecurities (external conflict), and father's domination (external conflict) in a constructive rather than destructive way?

Internal reaction to external condition is called "cause and effect," because as characters face or flee conflict; they act and react. These actions and reactions develop plot. Both internal and external conflicts are equally crucial to fiction no matter the genre or length. A writer must also heighten and maintain pace until the final climax and story resolution. Try this simple outline to assure pacing:

EXPOSITION. The beginning of the story introducing main character, Thomas, the setting, and establishing point-of-view.

OPENING. Thomas first confrontation to conflict, whether internal or external. Example:

Thomas stood on the double deck he had constructed of cypress and gazed out over the hilly countryside. Pines, oaks, and maples flourished. Their branches danced and sang with soothing winds and wildlife. Usually there was the heady scent of mint and pine, but today a charred stench and a graying mist was creeping his way. In the distance, miles away, black smoke rose like a banshee from a grave. Squalls slapped Thomas face, as did reality. If this wind didn't die soon and if rains didn't come, the raging forest fire would soon be at his doorstep.
INCIDENT. Confrontation with an external conflict (fire), causes an internal conflict (Thomas stubbornness) which causes more external conflict (wife's anger). Example:

"How can I just leave the home I scrimped and worked for, built with my own hands?" Thomas yelled.

"You scrimped and worked for? What about me, Thomas? This is my home, too."

"I didn't mean it that way."

"Yes, you did. This shrine represents you and proves your worthiness to the world."

"That's not fair."

"Fair? Fair? You want to stay knowing that this entire area has been evacuated. You risk your life for stone and wood, Thomas. What about us? Is that fair?"

"Look, you and the kids go to my parents and I promise . . ."

"No, don't promise. I don't want your last words to me to be a lie."
RISING. Internal conflict increases (Should Thomas go with his family or stay) because of external conflict (forest fire getting closer and closer).

ACTION. Thomas stays behind to face danger and deals with fear (internal conflict), confusion (internal conflict), debating firefighters that are trying to force him to evacuate (external conflict), and worrying (internal conflict) about his wife's anger (external conflict).

CLIMAX. Fire is perilously close (external conflict). Intense heat singes the air, fire crackles. Main character realizes that losing his life and his family is not worth saving wood, brick, and mortar (internal resolution to external condition).

FALLING. Barely makes it to safety and from a distance watches fire consume the area where his home is.

RESOLUTION. Main character reconciles with family.

Before you begin your story, outline obstacles and solutions to maintain action and avoid lapses. Have the ultimate goal established, and, once characters begin their quest, hurl obstacles at them. Below is a simple progression of obstacles leading to climax and resolution:

Goal: Brenda wants to go to a party where all the popular kids will be

Obstacle: Father won't let her

Solution: She plans to sneak out and go anyway

Obstacle: Her best friend who is spending the night doesn't want to get into trouble

Solution: Brenda talks friend into going, saying they won't get caught and it'll be fun

Mounting Obstacle: Policeman stops their car because girls are out after the twelve o'clock curfew

Mounting Solution: Brenda tells officer that her best friend is sick and wants to go home.

Intensifying Obstacle: After girls get to party, best friend feels uncomfortable because of the drinking and she wants to leave.

Intensifying Solution: Brenda decides to take her friend home and go back to the party.

Heightened Obstacle: Brenda has had too much to drink and runs the car off the road. Car flips several times. Best friend is knocked out. Brenda smells gasoline, and sees the small fire. Door is stuck. Brenda panics. She kicks at crushed door. It won't open. She kicks at front window. It won't break. She screams and cries. Then, she calms and remembers that an automobile's side windows aren't as thick as the front window. She kicks and kicks her window. She feels the heat intensify. She kicks harder, harder. The glass cracks. She kicks. It cracks some more, until finally her foot crashes through. She grabs her best friend. The fire is crackling. Her arms ache trying to pull her injured friend out. Her head is woozy from drink and fear. She cuts her arm on broken glass, but ignores it. She pulls and pulls until finally, she yanks her friend through the small window, dragging her away from the car, which is now engulfed in flames.

Heightened Solution: Friend is in hospital. There is a chance she might make it, but a good chance she won't. Brenda stays at hospital day after day dealing with guilt and regret.

Climaxing Obstacle: All the friends Brenda wanted to impress at the party are no longer important. Even though they have showed up at her side now, she doesn't care. Only one person matters to her now. Her best friend. The one who had accepted her when others hadn't, and stood by her at whatever cost. She'll never forgive herself if her best friend dies.

Final Resolution: Best-friend responds and soon, she is sitting up, getting better day after day. The two are reconciled. Brenda learns from her destructive behavior, grows from the experience, and feels she can now confront her parents on other issues.

The longer the fiction, the more you need mini conflicts and climaxes, both internal and external. Each conflict should possess a beginning, middle, and end, and lead to climax, and resolution.

Avoid rushing from conflict to conflict, because your readers will become nervous wrecks. Use thoughts, narratives, descriptions, foreshadowing, and flashbacks as calming effects between conflicts.

Characters have to strive for something and, as we all know, nothing comes easy. Readers long to struggle with characters through internal and external conflicts, celebrating their successes, and crying over their losses. Struggles don't have to be riddled with blood and violence, but must be dramatic and moving. Endings need not be happy, but something that readers are not likely to ever forget.

Don't fear conflict. Confront it, tackle it, and then go on to the next one.

Richelle Putnam is a two-time Institute of Children's Literature graduate, and student in a third Non-Fiction Course. She completed Writer's Digest Novel Writing Course, and Coffeehouse for Writer s Flash Fiction Course. A speaker and writing instructor, she has won many writing competitions, and has been published in E2K, World Wide Writers, Beginnings Magazine, The Copperfield Review, Cayuse Press, Writer's Journal, and more. Her work will be published in A Cup of Comfort for Mothers and Daughters Anthology, Living by Faith Anthology, Boys Quest, Jack and Jill, and Hopscotch. Her book, Fallout, was released March 2001. Her website is: www.authorsden.com/richellemputnam.