Character vs Character

Rosemi Mederos: 00:01

If you have plot bunnies coming out of your plot holes, it’s time for a writing break.

A few weeks ago, I told you I was going to return to a once-a-week release schedule, as requested from listeners in a feedback survey. Aaaaand then I missed a release last week, which feels like failure. Now, we’re friends, so I know there’s no need to make excuses, but I do promise that I am doing my best to increase episode frequency. Fair enough?

In order to atone for my actions, I would like to offer this nugget of advice for your query letters. If you are working on a series, whether fiction or nonfiction, rather than pitching your debut book as a series, pitch it as a standalone book, with series potential. You’re welcome.

We’re not even doing the publishing news today. We are just focusing on you and your writing because you deserve that kind of attention.

The Writing Break cafe is open, so how about meeting me on the Overthinking Couch to discuss the literary conflict known as character versus character ?

The literary conflict of character versus character seems simple enough, right? Two characters are pitted against each other in some way. This clash can be physical or mental, but it’s best when it’s a bit of both . . . or a lot of both. A physical conflict would be something like a competition or a fight. A mental conflict would be something like a moral disagreement, a clash of personalities, a battle of wills. This could also be referred to as a psychological conflict between characters. As with all of the literary conflicts we’re talking about this season, character versus character serves to create tension and gives the author room to develop their characters.

I encourage you to write character versus character conflicts as more than just good versus evil or right versus wrong. Perhaps the antagonist has convincing reasons for their standpoint or says or does something that makes the protagonist revisit their own beliefs or reflect on their own actions.

I think it’s fun when an antagonist makes me question whether the protagonist is in the right.

For example, my book club is currently dragging me kicking and screaming through Iron Flame, which is the sequel to the popular fantasy novel, Fourth Wing by Rebecca Yarros. I’m going to keep my reasons for not liking this series to myself; however, I do enjoy that antagonists and supporting characters often have valid reasons for their actions, even when those actions conflict with what the protagonist wants to happen.

The protagonist is meant to overcome personal flaws while working out how to overcome the obstacles presented by other characters, and boy, am I hoping that happens in this series.

Character versus character conflicts can be direct or indirect. With indirect conflicts, the characters might not even confront each other directly, but their conflicting goals and desires still manage to create tension in a story. It could be something like not being able to tell a friend a secret because the protagonist doesn’t want to put the friend in danger or they are not sure the friend can be trusted with this particular piece of information.

There can also be multiple characters in this character versus character conflict. Think: a new employee versus their new coworkers, an employer versus their employees, or a bootlegger versus law enforcement. There could also be multiple antagonists with varying motives, such as the aforementioned bootlegger versus law enforcement and other bootleggers.

Again, these clashes should lead to the protagonist and other characters learning, growing, and adapting. Perhaps the protagonist develops new skills, modifies their convictions, or forms new alliances in order to overcome the conflict. The conflict should not be static. Shifting the balance of power will make for a more engaging story.

Character versus character drives the story forward best when all of the characters are well-developed, not just the protagonist. This means that each character’s motivations are clear, and they each have a unique voice with a unique personality. Remember that motives can be a little bit hidden depending on your story, such as murder mysteries. Still having clear motivations, unique voices, unique personalities will enable your readers to develop strong emotional connections to your characters and actually care about what happens to them. Remember that no one is all good or all bad, and your characters shouldn’t be either.

Some of the weakest writing I’ve seen is when the protagonist’s former lover enters the story. I think sometimes authors are revenge writing and create characters with no redeeming qualities that make the reader wonder what the protagonist ever saw in that character. This also happens with the former lover’s new lover. An author trying to hide the revenge writing will make the former lover’s new lover physically attractive, with no redeeming qualities. Writing can be therapeutic, so go ahead and write down all that vitriol, just remember to remove it from your manuscript before submitting, and, if you have time, replace it with text that shows you have enough of an understanding of the human experience to give every character strengths and weaknesses.

(By the way, this all applies even if your characters are not human because your book will be read by humans, and, therefore, should have the power to influence the way your readers live their lives.)

Oh, and one more thing: Do not take any of this as a sign to text your ex. That person had no redeeming qualities, mmkay?

In the next episode, we’re talking character versus nature, which is a personal favorite. Until then, thank you so much for listening, and remember, you deserved this break.

If you would like us to visit your favorite independent bookstore, feature your favorite independent author (even if it’s you), or discuss something you’re overthinking about, please email me at podcast@writingbreak.com.

Thank you for making space in your mind for The Muse today.

Writing Break is hosted by America’s Editor and produced by Allon Media with technical direction by Gus Aviles. Visit us at writingbreak.com or contact us at podcast@writingbreak.com.