Granny Kat's Home Remedies for Your Ailing Story
Conflict versus Struggle
Dx: You have conflict, really good conflict, but are you
spending enough time on the struggle against that conflict?
Rx: Don't spend a lot of story time summarizing or
discussing the conflict itself. If you have scenes in which characters need to
explain the conflict with internal monologues or discussions with other
characters, try changing these into arguments and confrontations. The conflict
will be delivered to the reader in a clear and engaging way. Do spend lots of
story time on the struggle itself. Once the conflict is introduced, readers
need to know more details about the conflict, but they should be able to get
those details by watching the characters struggle, not simply by learning facts
as events unfold. Every fact, every new detail should come out of a struggle.
Highlight the aspects of the struggle by spending lots of
scene time on it. For example, your character's conflict is to take back what
was stolen from his family. Spend scene time showing him struggling to figure
out what happened to the goods and where they are now, scene time showing his
struggle to get to the stolen goods, scene time showing him struggle to finally
locate the goods, scene time showing him struggle to take possession of the
goods, scene time showing him struggle when trying to leave with the goods,
scene time showing him being forced to choose between the goods and something
else he cares about, scene time questioning whether the goods are, in fact,
truly his, scene time showing the value of those goods to him, scene time
showing the value of those goods to the people who stole them, etc. Nothing
should be easy. The story is made up of scenes that show him struggling with
the conflict in many different ways.
Introspection versus Immediacy
Dx: You've got a great story idea, but the story lacks
tension
Rx: Immediacy, even the smallest kind, keeps tension on the
page. By immediacy I don't mean characters are running for their lives every
second. Immediacy means the character needs to do or to get or to face
something right now or very soon. He needs this thing or must do this thing or
must face this thing in order to resolve the conflict. He may or may not want
to do this thing, but he's responsible for doing it. And in the process of
doing it, he may not succeed. To practice this, take the tiniest most mundane
detail in your life and imagine what it would be like if you didn't succeed
with it. Grocery shopping. You never make it to the store. The store is closed.
They don't have the products you need. No milk. No bread. No eggs. What will
you feed your hungry family? It's your job. You need to do it. What will you
do? Do have the character think about it and share some of that with the
reader, but don't have the character spend loads of time just thinking about
it. They must do something. Right now! Try another store? Borrow from the
neighbors? Back to your character: what small thing must he do right now to
solve the conflict, either directly or indirectly? What could prevent him from
doing it? Think small. Small is easy to imagine. Small is profound when
properly thought out and worked into the fabric of the story.
That was Now, This is Future
Dx: You're showing what's happening now without mentioning
or emphasizing what will happen next.
Rx: Scenes should be in the present, showing what's
happening now so readers can enjoy living through the experiences with the
characters. But they should also emphasize what will happen next. What will be
the effects of a decision a character makes, the outcome of a confrontation, or
an expected event? The now should be full of tension, but most of that tension
will come from the effects of what's happening now. The reader will worry in
the moment what the decision will be because of what might happen due to that decision.
Example: if Susie doesn't get to the store, her little twins will have no
supper, they will cry and cry until they fall asleep, exhausted and hungry.
Focus on the tension and a sense of something impending. The
usual advice is to think of the worst that can happen. That's terrible advice,
because it steps over lots of lovely things you can use to build tension. Often
the worst that can happen is not realistic, making readers doubt the story's
reality. The worst that can happen might be that Susie gets no food at all. But
what if she gets some food, it's just not enough? What if she has to choose
between feeding herself and feeding her children? That's not the worst, but
it's still pretty bad. What if she gets barely enough food for today, but is now
certain that there will be absolutely none for tomorrow. Focusing on what's
happening now is good. Projecting trouble into the future is better.
Highlight a character's unfulfilled intention. What your
character is doing now is interesting and engaging and may keep readers going
for a time, but what is your character planning to do later, tomorrow, next
week? Writers are advised to hold back, don't reveal too much too soon. Keep
the reader guessing. Perhaps. Keep the reader guessing about what might happen,
but why keep the reader in the dark about what the character intends to do?
Susie knows there'll be no food tomorrow. She's putting her babies to bed. Is
she going to spend half the night wondering what will happen to her family? No.
She's already plotting. She noticed a neighbor loading his truck with food. She
could sneak into his house and steal some, seduce the neighbor in return for
some food, offer to cook or clean or simply beg. She could forage in the woods,
apply for food stamps, call distant relatives for help. She must get food, and
somehow she will.
For more in-depth remedies, check out Granny Kat's WritersGuide Series