Last time we discussed that the heart of all conflict is the struggle. We also spoke about how that the struggle helps to create more depth for immersing your reader in the conflict in your scene. The focus was on the internal resistance. Let me clarify something before we continue, struggle is at the heart of conflict but that is not all that it is. Although conflict is about resistance, I am speaking about resisting and being resisted. Sometimes a push receives a pull and a pull a push in return. If one side yields in this tug of war there is no longer any resistance and therefore out goes the struggle as it gives way to submission. This is why I have declared that struggle is at the heart of all conflict. I hope that makes sense.
Today we will be looking into the other piece of conflict which is external conflict. What you need to realize is that both external and internal conflict are two sides of the same coin. The point is that you really cannot have one without the other. If this is not something that you have realized in creating your scenes than it could very well be the main reason your conflict is not capturing your own attention as well as that of your reader. No problem, because this is part of the reason we are talking about it.
Aside from internal and external resistance being a part of the same coin and struggle being the heart of both, there is one more important element that you probably have overlooked that is essential for embellishing the conflict in your scene.
So, what may that be?
In a word it is, location. That is right, location, location, location is crucial in helping your conflict become something that will hold your readers attention from start to finish.
Why is that the case?
It has much do with obstacles. When you are considering external conflict you need to be aware of the naturally occurring things within your location that can be used to get in the way and aggravate both the protagonist and antagonist. That is what obstacles in our own lives do, do they not? They are the things that are in the way of us achieving our goals. As a writer you need to absolutely be aware of what these are in the scene you are working on to bring out the most from your conflict and make it an engaging experience for your readers. A simple and very general example is a scene that takes place in the sky. Let us list some naturally occurring obstacles that we would find in this seemingly empty space:
Having said all of that, there are three important aspects of how to use the obstacles in your location. Obstacles can be used to constrict, control, or obstruct the movement of your characters. All of these can be used to work in favor or against the antagonist and protagonist. It really depends on you. One simple example from the horror genre is that locked door the character arrives at with a glimmer of hope only to find despair as they rattle that knob to no avail while desperately fleeing the thing chasing them.
Something I would like to clarify is that conflict does not need to be focused on grappling, sword fighting, laser fighting or sparring and so on to be engaging and entertaining. It is about the struggle, location and properly utilizing the push and pull of internal versus external resistance. Just to make a case and point our example today will be quite fitting. Before we get into it I will provide a general synopsis of what is going on so that you can better understand the scene. This scene is taking place on a space cruise ship that is on its way toward the moon and will do a u-turn and head back to earth. A grand, masquerade, Gala event is taking place to commence the maiden voyage of the Destiny Venture and birthday surprise for a certain character. Manitra has just met a billionaire who has potential answers to questions about the one responsible for her parents’ death. However, upon meeting this person she falls in love with him but does not realize the sensations that she is feeling due to her lack of interaction with people outside of accomplishing her missions. After some awkward moments when they are introduced she reluctantly agreed to join this person for a dance. This scene is playing out on the Entertainment Deck of this space cruise ship.
Please see the excerpt below taken from a scene in my sci – fi work in progress Fulfilling a Vow: Looking for Answers.
There it was again, she felt it as fiery javelins lunged at her, a tae reminiscent of her experience since she stumbled about in the line awaiting to board. Even without Zhan Lyn it was not difficult to ascertain the subject of the laughter, sneers, and whispers, considering that they did not bother to hide it. Her seething blood began to cool as she felt the gentle squeeze of his hand. He never said a word, didn’t even look back for that matter but strode forth like a conquering general, leading Manitra to the center of the dance floor. There was quite the chatter from the other couples that twirled about, none daring to make direct mention of whom they were speaking of, although Manitra had recognized quite a few faces of those she had boarded with, especially the gentleman in the black and gold tuxedo and many of the women from the line.
“Hold out your right hand towards me,” -he took it with his left then curled his arm behind her and cupped her shoulder- “now place your left hand on top of my right arm.”
Manitra averted her eyes. The press of his strong hand ignited the roots of hair follicles as soft chiffon brushed along their tips; her body tingled as a myriad of tiny explosions were set off. Even out of her periphery those commanding eyes demanded her full attention. What had he done to her? Even her thoughts felt heavy and muddled. All she could do was follow along in this dance ritual he was instructing her in. He had led her through a series of the basic movements already. It seemed easy enough stepping counter to his lead, her right moving back at the advance of his left then a sidestep followed by a closed step. Even without his instruction, he had exerted such mastery that she need do nothing more than become the marionette, his subtle cues the tug on the string that would execute her movement. But she would be no one’s puppet. So, when she closed stepped instead of sidestepped, stepped on his foot, or even stepped back instead of to the side, he always compensated, making it all seem intentional. There was no question of who was in control. Although, no matter how much he covered for those mistakes they did not go unnoticed, hence the chatter spreading about the floor like wildfire, chatter that screeched in her ears like chalk on the black board. Again, she was reminded of why she was there, of her true purpose for putting up with all of this bwangal.
Manitra’s eyes flashed. “What was Utentherin doing at your warehouse?”
He smiled, dropping his arm from her shoulder which she knew was the signal for her under arm turn.
“14.5 million dollars,” was his response when she spun back to face him.
For a moment she allowed his eyes to lock with hers. It was a moment that felt like an eternity, a moment in which her breath was taken. Was he mocking her or just hard of hearing? Her eyes darted down to the left, resting on his shoulder, a reprieve that did little to slow the rapid pace of her heart. He’d be wise to not underestimate her.
“Why was Utentherin there, what did you have to do with him?” Her guttural tone had turned the heads of couples twirling about on the outer rim of the dance floor. Both their dance and conversation were becoming the talk of the floor.
“14.5 million dollars was the cost of equipment destroyed that day,” he coolly replied adjusting again for her misstep and taking them into a left turn in the same counterclockwise movement of the other couples.
The pair was as divergent as yin was from yang. His movements would rise and fall with the tempo as effortlessly as an eagle coasting along the currents of the stratosphere but hers while executed partially well were as choppy as a novice on roller blades step rolling rather than cruising along on the wheels. Her blood churned and to her surprise her crushing grip was met in kind. She tottered as he spun her out, stayed by his firm hand. He could feel her tensing muscle sinews as they began reversing along the inside edge of the ring of dancers surrounding them. He paid no heed to the comments of a nearby couple feeling sorry for his masterful talent going to waste on such a poor excuse for a partner, amongst other snide remarks. All of which was said loud enough for Manitra to hear. Then there were some other missteps as eyes were blinded by the brilliant lavender glare shimmering between the eyelets of her mask. Manitra only grew more infuriated with his response to her questions and the ridicule of the other guests. What was his point? What was this man hiding from her?
“I demand that you answer me, what are you hiding?”
She met a pair of haughty eyes with a glare of her own, making sure to nail the next few movements with precision, enough to garner a few nods of approval.
“10 million dollars in damages to the warehouse.”
Her head whipped around bearing gnashed teeth but as soon as those fulgent eyes leveled with his they dimmed like a snuffed-out candle. Perspiration bathed her clammy skin, moistening her slender fingers to the point they slid from his grasp. They slipped at the start of her rotation into an under-arm turn. Her eyes flung wide, and her leg went up and upon her descent, out went what little dignity that remained. It was a plummet soon broken by a strong arm bracing her back, her left hand grasped in Traes’ right. Even this obvious blunder he managed to make look intentional, every movement in sync with the rhythm.
“Manitra,” -he said softly, standing her erect- “if you will give me this dance, I will answer all of your questions, as I have many of my own for you, deal?”
The chattering about them grew immensely as well as the level of insults. She heard words such as disgrace, unrefined and fool, to the mention of it being better if she’d been ejected out an airlock. Bwangal, why was she even out there with him in the first place? Why should she yield to his wishes? Yes, he had the answerers she needed; he must have the answerers she needed. She had to have answers. That was it, she finally had enough. She would get what she came for. Manitra took a breath, took his left hand, rested her arm on his right arm, and then her eyes slammed shut. Traes cocked an eyebrow, then grinned as he slid his left foot forward. He could not know that she had fallen deep into kauna but could feel how lax her muscles were as her feet glided across the floor in sync with his own. She was now the marionette led along by this master puppeteer, while she reached out into the atmosphere and pushed through layers of tae that enclosed upon her like moving walls. Animosity coiled around her, crushing her in its icy embrace but still she reached for that steady soothing rhythm, resonating with its invigorating flow. It became her singular focus filling her to the brim as she tuned out all else.
Traes’ breath was lost to him. He was like a dandelion twirling in the wind. The chatter about them took an abrupt shift and many steps were missed as the spectacle played out. They were so in sync that each was the mirror opposite of the other. They glided and twirled about the center floor like a couple dancing on ice, each rise and fall of heel and toe in perfect unison with the tempo. It was hard for wide eyes to believe that this was surely the same couple that had been there all along. So lost were the pair in the moment that they did not take note that the floor had cleared leaving them as the main attraction. It wasn’t until the music came to an abrupt halt, that they realized all eyes were on them. Again, the sound of cheers and clapping broke out across the entertainment deck. Traes took a bow leaving Manitra standing trying to take in the sudden change in events.
“You just had to go and one up the birthday boy, didn’t you?”
Traes turned with a smile at the pat of Charles Goulen’s hand on his back.
Charles’ lips broke into a sly grin. “Do you mind if this old man cuts in on the action, you ole dance shark you?”
As we look at this scene realize that it will be done with a central focus on Manitra because the majority of this scene is written from her point of view. As we lay things out, it will be from the perspective of how they act as an obstacle for Manitra. This is where we will deal with how internal resistance is not only a part of the same coin of external resistance but how it naturally feeds external resistance and manifests itself as an obstacle.
With that said, let’s look at how Manitra’s internal resistance does just that and identify what it is:
The first point gives us a clue that she is undergoing some sensations that involve attraction toward Traes. The struggle is that her body is more honest than she is. Aside from that she is not even aware that she has those types of feelings for him due to her lack of social interaction with others.
Due to the issues from the first point, this helps to compound upon points 2 through 5. She externalizes the strange feelings as some form of manipulation Traes is using to control her. It doesn’t help that his role as her dance partner is the lead. Therefore, she fights against her emotions, as well as her dance partner due to her resistance to being controlled by someone else. Of course, it is not a matter of him controlling her but her submitting to him to enjoy the dance but to her submission is synonymous with being a puppet.
A little background of Manitra’s occupation is that she works in the shadows and eliminates extremely dangerous threats in a way where she annihilates all in her path. Being at this gala has placed her out of her element and she is having a very rough time putting up with the pettiness of the rich and famous. Of course, her life is not in danger but it does not stop her from wanting to handle things the way she is used to but that would get in the way of her achieving her goal.
In point six we have a case of external conflict feeding the internal conflict. The nasty comments of the other couples who are intentionally speaking loud enough for her to hear stir up bitter memories that she had while standing in line. As she waited to board the Destiny Venture some of them mocked her because of some fashion faux pas they witnessed. In this instance the internal resistance shows through her muscle tension. Some of the same people who mocked her in the line are now dancing around her and further driving home the fact that they don’t feel that she belongs among such affluent figures as themselves. The same applies to points seven and nine.
Point eight is an example of internal resistance becoming an external obstacle. It starts with her angrily meeting his gaze but due to the strong attraction that she feels and is still unaware of, the honesty of her body is expressed in the coolness and perspiration of her skin which causes her to slip from his grasp. It is a natural response due to her alien physiology for her body to become clammy and perspire as a result of infatuation.
Let’s take a look at the obstacles that agitate the external resistance:
For the first two points we have a great example of internal resistance naturally giving way to external resistance. It should be noted that because she is disgusted with the submissive role she has undertaken as the dance partner that this grates against her personality. The emotions that well up, explode outwardly in her actions in point two in which we see her making an embarrassment of herself. Of course, his actions of compensating only further fuel that internal struggle. Also, we see the same example in point five as she gets so upset that she crushes his hand only to have him respond in kind and due to her stiffness she can’t ease into the rhythm of the dance and finds herself tottering. Once again, he compensates for her, which only drives home the fact that she is not the one in control.
Points three, six, seven and eight are a good example of Manitra being an obstacle to the other couples as well as her own dance partner. Along with that it is important to note that through her response to the internal resistance that she becomes her own obstacle.
Traes is an obstacle because he questions her instead of giving her the answers that she demands. We see this in points four and nine. He does this to get her to own up for the costly expenses she has brought upon him through her previous actions earlier in the story, but it is clear to him that she has serious tunnel vision. After realizing this, near the end he decides to yield if she is also willing to stop resisting his lead on the dance floor.
The last thing I want to draw your attention to is how specific obstacles in this location are used to control the movement of the characters. While you may have easily overlooked it, the three obstacles that control Manitra’s movements are:
While it is obvious how her dance partner is literally in control since he is leading the dance lets talk about the other couples and the music. Considering the type of dance, which is the waltz, the couples all move in the same direction as not to collide, although they may move close to each other throughout the dance itself. This becomes a natural confinement to keep things orderly. Now for the music, it acts as an obstacle mainly because of Manitra’s resistance. Each misstep, due to her obstinance, creates further ridicule from those around her and fuels her internal resistance, which is to keep from obliterating them from the embarrassment that she feels.
One thing that should be clear from all the points made is the struggle. Examples were seen of the struggle through the giving and receiving of resistance throughout the dance as well as how the location itself provided naturally occurring obstacles which we have already named.
The purpose of showing you these things is not saying that you need to try to write like I do to create good conflict. My aim is to help you realize the resources in your scene that you have in front of you, so that you can create good conflict much easier. I am persuaded that there are many writers that struggle in creating good conflict because they don’t realize the full potential of what their own scenes have to offer.
I encourage you to take a look at the scenes you are working on or have already written and see how you can do the same with your conflict. Do your best to keep in mind these fundamental aspects of conflict:
Even though you may not have looked at conflict in this manner, I highly encourage you to do so and see how you grow in your confidence in approaching conflict in your fiction. I am persuaded that you will see quite the confidence boost in doing so if you are willing to give it an honest try.
I encourage you to take a look at your scenes you are working on and see how you can do the same with your conflict and really focus on getting the most out of your characters struggle that you can create your own masterpiece.
Also, if you are looking to get a deeper understanding of the when, why and how to use resistance to help bring out the most of your scene writing and keep your readers begging for more, get a copy of my book Mastering Your Scenes.
I value your input and would love to hear your thoughts.
Don't be shy, join in on this conversation and let me know the inspiration you recieved or ideas you have about this topic in the comment box below.
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