One of the perennial bits of writing advice is that novels need conflict. I am even guilty of dispensing this advice myself.
But, you might be thinking, I don’t want to write a novel where everyone is fighting all the time like it’s a Bravo reality show. I’m not packing my novel with sword fights. My novel’s a little quiet and introspective even!
That’s okay. Not every novel needs a ton of conflict. You do, however, need obstacles. And conflict is really just a type of obstacle.
So when someone tells you you need more conflict: you really just need obstacles.
Maybe the obstacle can be conflict, maybe not. Here’s what I mean.
Stories need obstacles
To circle back to why we read in the first place, stories are all about how a character or group of characters move through the world and end up in a new place. (I’m going to refer to a singular protagonist from here on out for simplicity).
In classic western storytelling tradition, a protagonist wants something big, they go after that thing, they encounter a series of escalating obstacles, they either do or don’t get that thing/defeat the villain, and they emerge changed. In order to ascend to the climax, they may need to evolve and learn new skills along the way.
When stories stall out into boredom, chances are the culprit is either:
a) the protagonist is not sufficiently actively moving through the world (i.e. they’re not going after the thing they want), or
b) they’re not encountering any significant obstacles and everything feels too easy
Obstacles and inner turmoil can replace conflict
When a character is stalling out and just going through the motions, you’ll often hear from editors or beta readers that you need more conflict to punch up the story.
That can work! Secondary characters with competing motivations–and particularly a villain–can serve as obstacles. Love affairs feel more intense when characters have to fight for their love instead of just sailing to perfection. If two characters are simply moving in lockstep, it’s usually not terribly interesting.
But the obstacle doesn’t have to be conflict. Compelling sequences, such as Toru sitting in the bottom of a well in The Wind-Up Bird Chronicle can consist of a character simply trying to figure something out. A character might bump up against their own weaknesses. They might be confronted with a twist of fate or by an act of nature.
Characters do need to be active. Obstacles can test characters and force them to change and grow.
But they don’t need to be fighting all the time.
Need help with your book? I’m available for manuscript edits, query critiques, and coaching!
For my best advice, check out my online classes, my guide to writing a novel and my guide to publishing a book.
And if you like this post: subscribe to my newsletter!
Art: Glencoe, A Shepherd Boy Crossing a Burn by Walter Goodall
