Category Archives: Conflict

Why does the hero usually benefit from a group of friends to support them, while the villain seems to go it alone, surrounded by toadies, henchmen, and often monstrous servants, but no real friends?

A favorite example for me is David Eddings’ classic fantasy: The Mallorean. I loved this series when I read it as a teen, and one of my favorite aspects of it were the fantastic cast of characters. Their friendship, bantering, and personal quirks felt so real, and helped draw me into the story. Every one of them played an important role somewhere along the way, without which the hero could not have succeeded.

On the opposite end of the spectrum was a villain who casually killed just about everyone they knew as soon as their usefulness ended. The contrast was powerful and effective.

Another stellar example is the friendship between Frodo and Sam. Without Sam, Frodo was doomed. Antagonistic forces were always loners: Sauron, the Dark Lord; Saruman the White, who turned traitor and allied with Sauron, but couldn’t be considered a friend of the ultimate tyrant. Then there was the creature, Gollum. So alone he had developed schizophrenia to have someone to talk to. I was fascinated by Frodo’s attempt to befriend that broken, evil soul. In the process of allowing Frodo close, Gollum actually seemed capable of redemption, but when he rejected Frodo, his ultimate fall was guaranteed.

So why are friends necessary for the hero? I’ve come up with what I think are some compelling reasons:

The hero is usually the underdog in most stories. They’re caught up in crazy events that they usually would rather avoid, but cannot seem to escape. The enemy is usually far more powerful and dangerous. Without friends to help them develop and grow and become the hero the story needs, they’d never survive long enough to get a shot at victory.
The hero must usually rise to fight some kind of evil, which means they represent the good. They might not be necessarily good of themselves, but they must represent good, or have ties to those they care about that are good. And those ties of love and friendship make them human, help readers relate, and encourage us to root for them.
The hero is usually attempting to effect change. Real change cannot be done solo.

There’s a lot of great information about heroes and heroism out there. One resource I discovered is Matt Langdon of Heroism Science. He’s got an excellent post about heroism and the team heroes need to build in order to succeed. Check it out here: https://heroismscience.wordpress.com/2015/07/16/every-hero-needs-a-team/

Back to the villain. Why do they have so much trouble building friendships?

If they’re truly evil, they simply can’t understand friendship, which is a form of love, placing it outside of the realm of understanding of a truly evil villain.
True friendship requires acts of kindness and thoughtfulness, which is selfless and understanding. Most villains are proud and selfish, which again makes it nearly impossible for them to understand or embrace the necessary demands of friendship. Pride is by nature competitive, pitting the proud villain against anyone and everyone.
However, if your villain is not one of those ultimate evil types, you might be able to craft one who gets it, at least at some level. Some of the most interesting villains are those who honestly think they’re right, who display kindness and honor, but who draw different conclusions about the world and how to fix it than the hero.

Think Magneto from X-Men. He’s ‘The Villain’ and he does terrible things. But through the story, he is portrayed as a man of deep thought and, at least initially, seems interested more in protecting mutants from abuses than causing them. He’s actually very good friends with Professor Xavier, even though they must face off time after time. The root of their differences is their different world view. That type of conflict is extremely fascinating.

So build stories with great heroes and a stellar cast of supporting characters: the Mentor, the funny Sidekick, etc.

And when crafting your villains, consider making them human too, with real, complex motivations for what they do, with people they care about, and with real human emotions.

Those kind of villains are harder to hate, those stories are more complex, and often more difficult to write. But those are the stories that resonate the most powerfully. None of us will have to face the Dark Lord to settle the fate of the entire world, but we all have to face people who do mean or rotten things. Or maybe they’re just people who hold different political or religious views. It’s easy to see them as villains, but those people are human too, and although it makes it harder for us to hate them, they usually feel like they have good reason for what they do.

Deeply moving stories happen when the hero must stand against a friend. Find that story, and you’ve got a winner on your hands.

About the Author: Frank Morin

Frank Morin loves good stories in every form. When not writing or trying to keep up with his active family, he’s often found hiking, camping, Scuba diving, or enjoying other outdoor activities. For updates on upcoming releases of his popular Petralist YA fantasy novels, or his fast-paced Facetakers Urban Fantasy/Historical thrillers, check his website: www.frankmorin.org

Sexual Tension in Fiction

February 24, 2017

fictorians

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Attraction is easy. Desire is a deep and constant companion for most people. Even advertisers know this. We all have idle thoughts. People go out on a weekend looking for sex, and may find it or not. This is not sexual tension.

For sexual tension, you need a compelling sexual attraction – something that really pushes a character to do something they might not do otherwise.

Often sex and romance get lumped together in fiction. Both serve similar functions in a story, and often the protagonists’ sex is an expression of the love.

But not always. People can strongly desire sex with people they don’t love first, or at all, and it can have consequences other than love. Sex can also be an exchange, or a pressure, used in relationships characterized by imbalanced power. People can deny their true sexual attraction and still have pleasurable sex with others – even of different genders than their natural preference – who are not their first choice. Or, all of the above at once!

Sexual tension is a thing of the body, of the senses, of the id. It is the realm of the cad, the rake, the femme fatale – and yet, it is for all of us. It is manipulative and often shadowy, if not actually dark. It is our selfishness, our self-indulgence.

In fiction, sexual tension has something inappropriate or unwise – from the character’s view, or from the story’s. I don’t mean to demonize sex, or advocate a subtle puritanism, but fiction is always a distorted and extreme depiction, and sex is always a vulnerable state.

Characters can deny it, or give into it. Giving in is inherently heedless – if the sex were uncomplicated, they would just have it. It may lead to ruin. It may be for the good of the persons involved if not the society that denies them. It may even lead to romance and love, but not easily, and not without great disturbance in other aspects of the characters’ lives.

For good or ill, sexual tension leads characters astray.

The endless no

Not all attractions get acted out. Sometimes they linger, unacted on. Long enough and these denials can age like wine into bonds of friendship, or fester into ugly thoughts, or simply drag at us, like tides from a moon we’re bound to.

This works well for series characters, whose relationship can develop over several stories. In a standalone, the reader often comes in the middle of the relationship. In either case, seeing the tension is often more economical than backstory.

Be careful, however, to keep it in its place – after all, the characters are by definition in denial. When we see two characters drunk, or on their spouse’s arms at cocktail party, you can get to mutual sexual interest quickly and believably. In a crime scene investigation, it’s unprofessional, badly comic, and disorienting.

Locks and keys

As I said earlier, uncomplicated sex is not tense. If sex starts with a tension beyond simple anticipation, an attraction has to be more than the opening of a door. It has to be an unlocking, or a hacking, someone gaining access.

The disturbance I mentioned comes from this access, or can precede it. A person otherwise capable of denial might have had a separate major change in perspective making them less in control of their emotions. Or, they might simply find a person uniquely attractive person. I combined these in my novel The Demon in Business Class. When my rival protagonists first meet, they respond deeply on a sensory level, each for their own well-foreshadowed reasons. They’ve also both been through enough change in their recent lives that they are too compelled by their feelings. As my Gabriel later admits, “I was tired of doing the smart thing.”

You don’t have to underline what the character wants. You can even provide them with regular dollops of something they don’t want, even if it’s their normal. Charlaine Harris did this overtly, making Sookie Stackhouse unavoidably psychic, and vampire Bill Compton her first experience of not knowing too much.

Conditional attraction

The ugliest sexual tension is also the most interesting – when it isn’t mutual. A character’s deep response to a disinterested, or manipulative, other gives the other power.

Usually these come on fast, giving the character no time to think. Also, once another is empowered, they quickly take what they want, or develop contempt.

Remember that even in this situation, you need to consider both characters. It’s not enough that a person find themselves vulnerable to a predator. Why? It’s rare that another is so compelling to a healthy ego; maybe the character’s real weakness is a belief in a distorted version of their true self.

Meanwhile, the predator has to know its prey. Maybe it adapts to attract a known mark, or just happily senses the particular insecurities it knows how to enthrall.

The empowerment can come after the possession, too, like Scheherazade’s tales. If a powerful person takes on an inferior for a lover, but then is drawn into vulnerability, the stakes for the attraction become more compelling.

The movie Looper has a lovely and strange conditional attraction. The mother seduces the young hitman, not for any specific reason, and with a powerful excitement – an intuitive empowerment. She wants him when he is most lost, to get him to protect her son. It’s never stated, it’s hot, but it’s clear he’s the one changing, not her.

Closing the deal

Just as the moment of attraction says more than backstory, the sex that comes from the tension can express the tension economically. Sex isn’t a mindless act. Even if characters give into passion they still know themselves. They also tend to enjoy it. In positions of weakness, or sudden strength, they can still embrace that pleasure.

Sex goes great with any mature genre. Enjoy exploring all the unromantic reasons characters get together!

Anthony Dobranski writes stylish fantasy and science-fiction novels with big ideas and desperate characters. His first novel is the modern-day international fantasy The Demon in Business Class, from WordFire Press. He is currently writing his second novel.

He is a native of the Washington DC area. In his first career he worked for AOL, in Europe and Asia-Pacific, which gave him the international corporate background for Demon. When not writing or reading, he likes odd movies, challenging theater, and skiing.

Wading Through the Muddy Middles

February 22, 2017

Nathan Barra

Action & Adventure Character Conflict Craft & Skills First Drafts Ideas & Plotting Mystery Nathan Barra Plot Structure Reader Investment & Empathy Rewriting Romance & Erotica Social Combat Tension The Writing Life No Comments

Even with a fantastic opening hook and an explosive inciting incident, many stories spend time slogging through the “muddy middles.” As the name suggests, the middles are the time part way through act two where the story no longer benefits from the momentum of the inciting incident, but also hasn’t reached the point where it is drawn forward by the climax. This sag in tension is a dangerous time for any story as it allows the reader to put the book down. Therefore, deciding how to draw your audience through the middles is an essential part of any plotting.

If you ask a dozen authors how to best navigate the middles, you will often get fourteen answers. In truth, the “best” method depends on what sort of story you are trying to tell and what are the strongest emotional draws for your audience. Rather than listing all the possibilities, I’ll focus my discussion on four techniques that I think can be used in a variety of different stories.

Many thrillers and action/adventure stories will bridge the middles with a series of explosive scenes. By doing so, the author simplifies their task to propelling the reader from scene to scene rather than from initiating event to climax. As the reader progresses through the story, the duration between action sequences should shrink. This gives the illusion of accelerating right up into the climax.

Consider as an example the action/adventure film John Wick. The introduction and inciting incident occur in the first fifteen minutes of the movie and the climax occurs at roughly one hour and fifteen minutes. Taken at a very high level, what happens during the hour between those two points? First, there is a period of milieu and character work to establish the character of John Wick and the rest of the world. Then there is a beating delivered by the big bad and the big bad’s first try/fail cycle to resolve the issue without violence. This is followed by a gun fight, a short period of world exploration, a gun fight, a brief pause for recovery, a fist fight, a briefer pause for a few wise cracks, a gun fight, a yet briefer pause in which John Wick sets some stuff on fire, and once again a gun fight that ends in a capture sequence. John then escapes captivity and dives straight into the climax of the movie. The tension is not allowed to slacken for a moment because John is near constantly either in danger and/or kicking some ass.

Though the thriller model is effective, it won’t work universally. After all, mystery audiences won’t be satisfied by explosions and flying fists. Instead, they are looking for intellectual stimulation. However, it isn’t enough to simply give them a puzzle. As the story continues, they need to feel as if they are coming closer to the solution. The key here is to ensure that each new answer they find along the way complicates the puzzle by being either incomplete, misleading, or raising yet more questions. The best, recent example I can think of to illustrate this style of plotting is the movie Arrival. Don’t worry about spoilers. Unlike John Wick (2014), Arrival (2016) is still new enough that I will only speak in broad strokes.

I believe that the story of Arrival works as well as it does because everyone goes into a first contact story expecting an overt conflict between humanity and the aliens. However, twists this trope on its head, which is intriguing in and of itself. The main story is a mystery driven by the question, “What do the aliens want?” Along the way, we the audience are given pieces of the puzzle in such a way that they don’t all come together until the very end. This plotting structure latches onto our fundamental human curiosity and pulls us forward with the illusion of progress towards getting an ultimate answer.

Where action/adventure plots seek to satisfy a sense of physicality and mysteries work to stimulate intellectual curiosity, romances play on the human need for connection. Will our point of view character be able to woo their paramour? Can our protagonist choose between two appealing, yet opposing romantic interests? How will our two (or more) romantic leads be able to overcome whatever forces hold them apart and end the story together? No matter the details, the drive is still the same. Will our protagonist(s) be able to achieve their need for connection? As such, we writers need to maintain tension by repeatedly denying our characters, and by proxy the readers, the connection they desire. We can do this in two major ways.

First is by introducing conflict internal to the relationship. By giving the romantic interests compelling personal conflicts and reservations, you allow them to stand in the way of their own happiness. It’s important to note that the reasons holding your characters apart need to be fundamental to their character, something substantial enough that it can withstand several try/fail cycles and significant enough that it poses a legitimate threat to the relationship. An example of this technique can be found in the early relationship between Eve Dallas and Roarke in Naked in Death by JD Robb. During her investigation of a sensitive homicide, Lieutenant Dallas meets Roarke and sparks fly. She feels conflicted because she can’t eliminate him as a suspect in her case, but also increasingly can’t deny her developing feelings for him. Her gut tells her that Roarke is innocent, but she can’t prove it. Robb draws us through the romantic arc by having Dallas’ blooming feelings clash with her sense of duty.

The second option is to introduce some element of external conflict, where your romantic interests strive together to try to overcome a barrier from outside the relationship. Again whatever the threat is, it needs to be big enough to possibly end the relationship. Twenty three books later in Innocent in Death, Robb introduces one of Roarke’s old girlfriends into the storyline to give Eve an extra emotional complication on top of her homicide investigation. The ex-girlfriend’s presence causes friction between Eve and Roarke and in so doing threatens their, by then well established, relationship. In both cases, the emotional distance between the characters drives our readers forward; they want to make sure that Eve and Roarke end up together.

It is important to note that though all the techniques I have described are different, they all appeal to the readers’ emotional draws. Ultimately, we need to ensure that our readers are always having fun, even when the momentum slows. Lucky for us, writers start their careers as fans of their genre. We know what fun is for the genre and our own enjoyment can serve as a metric for how well we are achieving that goal. Granted, this doesn’t hold true for the twenty seventh edit where you brains are leaking out of your ears. Rather, how much fun are you having in the moment of drafting? How much do you enjoy reading your story after letting it rest for a time? If you as the writer aren’t having fun, chances are that your readers will feel much the same way.

So if you ever find yourself drafting your manuscript and just slogging through a slow section, take a moment to step back and reevaluate. Why aren’t you having fun? Is there something about this scene you can change to make it more appealing? Does this scene really need to be here or in the book at all? You don’t always have the luxury of changing or dropping a scene. Sometimes you just need to power through it and fix the problem in editing. However, writing should be a joy. If you aren’t having a good time, it’s okay to take a step back and find ways to make your story more awesome.

Tension in Physical Confrontations

February 21, 2017

Frank Morin

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Which scene evokes more tension?

1 – Two master martial artists dueling in a high-flying contest of furious fists?

2 – A child trying to hold a door closed against a huge, rabid dog?

Most people choose number two, even though both contests could likely result in at least one person dying, and the first contest might be more visually impressive. Why is the image of the child against the rabid dog inherently more tense?

Here are a couple of reasons:

Need a real threat of danger. If we don’t feel the threat, we don’t feel the tension. That’s why humorous confrontations lack tension. (Think most of the fight scenes in Get Smart) In the amazing martial-artist duel, there is a threat of danger, but if both men are equally matched, that threat alone is not enough to ratchet up the tension. We need to add in another element.
Disparity of force. If the hero is most likely going to lose, we feel more tension. Think David vs Goliath (if we didn’t already know the ending). In the martial-arts example, it’s more tense if the hero is somehow at a disadvantage and more likely to lose. One of the major reasons we feel such tension in the child vs dog example is that the dog holds a huge advantage unless the child can lock the door. Add to that the natural tendency of most people to want to protect children, and the tension grows tenfold.
Stakes. The higher the stakes, the greater the tension. If the outcome doesn’t matter, there’s no tension. If the hero’s life, or the life of a loved one, is on the line, the tension can shoot through the roof. Add to that the fact that the hero finds themselves at a terrible disadvantage, and the tension ratchets up another white-knuckled notch.

Also remember, often the lead-up to a fight is more tense than the fight itself. In the middle of a fight sequence, we get caught up in the thrill of the battle. Sometimes we get swept away by how cool the fight sequence is and may not actually feel so much tension as we did before the fighting started.

Let’s look at a couple of examples from well-known films. First consider Batman’s final fight with Bane in The Dark Knight Rises. An awesome fight scene, but what filled it to overflowing with tension was the fact that Batman had faced Bane before and lost. The hero faced a very real possibility of losing again, of getting broken and defeated. But he stood up and faced his enemy, despite the risks, and that made us cheer for him, even while filled with nervous tension that made the eventual victory that much more delicious.

Another great example is in The Matrix in the fight scene between Neo and Mr. Smith. The entire movie sets up the tension, with the viewers being told and demonstrated over and over again that the Agents were impossible to beat and that everyone who had ever tried to stand against them had died.

Then Neo is forced into a position where he chooses to fight anyway, and the tension is awesome. The resulting fight scene is super-epic, our enjoyment magnified by that huge tension build-up.

An important note is that the stakes need to be believable. For example, in the recent hugely-popular movie Avengers Civil War, the tension didn’t work for me because I felt he set-up for the fight between heroes that I both thought were great wasn’t done well. I didn’t believe that they had sufficient justification to try killing each other, so the stakes felt hollow, and the tension weak. The fight scenes were well choreographed, but they lacked true tension because they felt forced.

And sometimes the most tense scenes are the ones where the hero and the antagonist are forced to be polite to each other, but are yearning to leap at each others’ throats. The tension in such pre-fight confrontations can be dialed up to delicious levels.

One great example is Indiana Jones and the Raiders of the Lost Ark, when Indy meets his arch rival, Belloq, in the café, right after the scene where we’re led to believe the leading lady, Miriam, just died. The conversation is laced with insults, and the threat of fatal violence bubbles just under the surface. It’s a great example to study.

So, let’s assume we’ve got a great confrontation planned, with serious stakes that have been well established, with a very real threat of danger, and with the bad guy holding every advantage. It’s still all too easy to destroy the tension by failing to manage the pacing, or by including too many details.

Conflicts have to move along at an increasing tempo. They can start slow – think the epic sword duel in The Princess Pride – but the tempo must increase, then increase some more, that rising tempo helping to raise the tension level.

During a fight scene is not the time to suddenly pause to discuss the finer details of craftsmanship of the weapons being wielded, what types of metals were used in building them, or the history of their use. If fighting with guns, don’t pause to discuss the pros and cons of different calibers, or compare the ballistics. Nor is it the time for long monologues or exhaustive self-analysis. Such detours kill the tempo and pacing and snuff out the tension. If such details are important, include them somewhere prior to the fight so the reader already understands.

One must also be careful not to share too many details. Imagine trying to read a detailed blow-by-blow account of an epic martial-arts duel. Such a chronicle would run for pages and pages, and would bore the readers to tears and destroy any chance of maintaining pacing or tension.

So pick the most important details and focus on those. Paint the other aspects of the fight with broad strokes, including enough sensory detail to lock the reader into the scene. Make sure the blocking is clear so the reader understands the physical location and how the combatants are moving within the space, but don’t describe every punch, swing, or the trajectory of each bullet. Then dive deep into the critical final sequence, slowing the action and increasing the level of detail so the reader is absolutely dialed in to what is happening. This will increase tension even more, as well as the pay-off.

If those moments are properly set up, they will explode across the page with increasing tempo, careful choices of details, focus on the stakes and the ultimate conclusion, resulting in amazing scenes that will linger in readers’ minds long after they reach the last page.

About the Author: Frank Morin

Frank Morin loves good stories in every form. When not writing or trying to keep up with his active family, he’s often found hiking, camping, Scuba diving, or enjoying other outdoor activities. For updates on upcoming releases of his popular Petralist YA fantasy novels, or his fast-paced Facetakers sci-fi time travel thrillers, check his website: www.frankmorin.org