by Deren Hansen
conflict should not be contrived.
What is a contrived conflict?
In comic books, bad guys are bad because they're bad. Slap on a label
like, "Nazi," or, "Terrorist," and your job is done. Other examples
include oppressive clergy, greedy corporations, and government
conspiracies. It's conflict by definition, which is the height of
Another kind of contrived conflict is what I call irrational conflict:
characters at loggerheads whose differences could be resolved with a
rational, five-minute conversation. Romances are particularly liable to
this kind of contrivance when the author can't think of a better reason
to keep the leads apart. Yes, misunderstandings occur in real life, as
do coincidences, but as a general rule (because you don't want your
readers rolling their eyes) you're only allowed one of each.
Of course, it's not that some kinds of conflict are contrived and other
are not. Any conflict where the reader sees the puppet strings, or
worse, the puppeteer (author), is contrived. Readers need and want to
believe that the conflict in the story arises organically from the mix
of setting, plot, and characters, and that the conflict couldn't have
played out any other way.
When I think about organic conflict, whether it arises from characters
or plot, I imagine the parties to the conflict as forces of nature.
Picture what happens when a surge of the restless sea meets the
immovable cliff. Or when the speeding car meets the brick wall.
The most compelling conflict feels inevitable: notwithstanding everyone's best efforts, the collision occurs.
Unlike the watered-down food label, "natural," organic conflict is a much healthier, and a much more satisfying choice.
Deren Hansen is the author of the Dunlith Hill Writers Guides. Learn more at dunlithhill.com.