Author: DelSheree

DelSheree Gladden was one of those shy, quiet kids who spent more time reading than talking. Literally. She didn't speak a single word for the first three months of preschool. Her fascination with reading led to many hours spent in the library and bookstores, and eventually to writing. She wrote her first novel when she was sixteen years old, but spent ten years rewriting it before having it published. Native to New Mexico, DelSheree and her family spent several years in Colorado for college and work before moving back home to be near family. When not writing novels, you can find DelSheree reading, painting, sewing, and working with other authors. DelSheree has several bestselling young adult series and has hit the USA Today Bestseller list twice as part of box sets. DelSheree also has contemporary romance, cozy mystery, and paranormal new adult series. Her writing is as varied as her reading interests.

Writing Compelling Conflict: The Stakes

For conflict to be truly meaningful in a story, there must be real stakes involved for the character. It is important to establish those stakes early in the development of the conflict so the reader is aware of how not reaching a goal or fulfilling a journey will affect the characters.

What are Stakes?

Simple put, the stakes are what the character risks by failing.

Don’t put limits the types of risks of failure or on how a character might be affected. If a relationship fails, yes there will be emotional trauma, but there might also be a ripple effect of losing other people from his or her life, a decline in self-esteem, negative affects on job performance, etc.

Explore all types of stakes associated with failure, then focus most on the stakes that will have the biggest impact, which might not be the most obvious one. This risk MUST matter and be big enough that the reader feels anxiety over the fact that it could all fall apart and harm the character in some way.

Failure to finish a degree or accept a job in order to relocate for a relationship can build resentment. Failure to confront something in the past can push a character to run from a current relationship. Failure to prioritize a relationship over work/money/ambition will result in missed opportunities and damage a relationship.

Risks can be internal or external.

External risks are those that would cause physical harm. These are often most at play in adventure, crime, mystery, thriller, etc. types of stories where the character’s physical safety is at risk if they fail to escape, finish a journey, solve a mystery, etc.

Internal risks are those that cause emotional or mental harm. These types of risks can be at play in just about any story type. Romance stories often focus on the emotional trauma of a relationship ending or losing a loved one, however the mental wellness of a character should also be considered. Personal growth or coming of age stories often do focus on mental wellness aspects of how a character is harmed by a trauma or the development and growth need to overcome difficult experiences.

Be sure you are considering and weighing the various types of risks and avenues of how a character might be affected when developing stakes in a story. The more layers, the more depth and realism a story will hold for the reader.

A great example of setting and developing meaningful stakes in a story is the film “Run, Fat Boy, Run.”

The main character Dennis signs up for a marathon after his ex-girlfriend’s (who he ran away from on their wedding day while she was pregnant) new fiancé brags about running the race. Whether or not the Dennis actually finishes the race doesn’t really matter to anyone but him. He needs to fulfill an internal goal of proving he can finish something difficult and not run away. There’s no external risk of him failing to finish the race, but the internal risk is quite high.

Once you have identified the main stakes for your character in not reaching or achieving a goal, take the time to develop 2 or 3 smaller stakes that add concern from the reader and deepen his or her emotional connection to the character.

Writing Compelling Conflict: Relationships and Conflict

Relationships are excellent sources of conflict for a story.

After identifying internal and external wants for the main characters, note where their goals/desires come into conflict with their relationship goals. These are opportunities to develop stumbling blocks in the relationship and on an individual level.

The relationship in question doesn’t have to be romantic. Family and friend relationships are also important opportunities for conflict and can also have a strong impact on a character’s development and growth.

If one character in a relationship feels driven to excel at work because he or she craves financial stability due to growing up destitute, while the other character is working toward moving to a small town where life is simpler, this will inevitably cause stress the in relationship and move the characters toward a crisis where both parties have to make difficult decisions. Those decisions will then impact the relationship and the individual characters.

A great example of this is from the movie “You’ve Got Mail.” One character is trying to save her small, independent bookstore while the other is trying to build and promote his mega-bookstore. Neither goal is inherently bad, but there’s no way they can both win. This destroys their chance at a relationship, at least in person.

Conflict and Growth

Each obstacle should be paired with something the characters will learn, either on a personal level or within the relationship. Conflict without purpose does not move the story forward or help the characters progress through their arcs. Each stumbling block placed in a character’s path should necessitate a choice, spawn realization, or push him or her to take action.

Getting through conflict does not always have to mean positive movement or growth in a relationship, however. Characters may make the wrong choice or suffer/cause emotional or mental harm and experience a setback rather than growth. Conflict should do both in a story, though the ultimate outcome is typically the characters reaching a resolution of some sort in their relationship. People in relationships often hurt each other and say things they don’t mean during arguments. Follow up these moments of setback with self-reflection or discussion with a neutral party who can offer some clarity.

Moments of conflict in a relationship may be internal or external. Ideally, a mixture of the two will provide variety and a more interesting pattern of growth in a relationship and in the individuals involved. Characters and relationships are most often in need of development in several areas. Alternate between what skills or areas of progress characters are challenged on as they move through the arc.

Obstacles should be introduced in a logical order and each one should be resolved before the end of the book. The exception to resolution would be some relationship obstacles being saved for subsequent books in a series. When ordering when characters face conflicts in a relationship, consider how a real person builds on skills or developmental steps. Learning not to internalize negative feedback from an abusive partner would be achieved before taking a stand against an abuser and leaving, just as learning the basics skills or a sport is necessary prior to playing at a competitive level.

Without conflict, relationships stagnate. Planning and executing moments of conflict in a character’s relationships will improve their depth as a character and inspire movement and growth in the story and character arcs.

Writing Compelling Conflict: Characters and Conflict

Characters and conflict are close companions in any story.

Even if the main conflict is external, a character must experience and react to it. A massive snow storm is less interesting if no one is there to be snowed in, put in danger, or unable to access food or medical care. Internal conflict depends on a character’s thoughts and emotions to be relevant and engaging. There is no internal conflict without a character to experience it.

Pairing Character and Conflict

In order to develop interesting conflict for a character, you must identify what the character wants. These should be internal and external desires or goals. If a character does not need or want anything, they will not only be incredibly boring, there will be no important stakes for them when challenged.

Internal goals may be feeling loved or having a stable life, offering or seeking forgiveness, developing self-confidence and overcoming fear, etc. A goal should have a definable and attainable goal. This helps both the character and reader know when of if the goal has been achieved.

Internal goals may impact external goals. An external goal like getting into a prestigious performing arts school may depend on and confidence to get through a rigorous interview. Lack of confidence could result in a poor interview and missing an opportunity.

External goals may be getting a promotion and ensuring financial security, completing a difficult task, or taking a risk on a relationship where the other person has potential to cause the main character harm of some sort. The character has less control over external goals because they are more profoundly impacted by situation, other people, or society.

The Revelatory Nature of Conflict

Conflict reveals truth about the character. What that truth is depends on the character and story. A character may seem charming and easy going until just the right button is pushed and they explode, showing their true colors under pressure. Conversely, a shy or weak-willed character may take a stand or speak out when she or someone she cares about is threatened, showing true inner strength uncomplicated by overthinking of pressure from others.

Choices and actions reveal the character’s thoughts, motivations, weakness, and strengths. When choosing what conflict to make use of in a story, consider what skills or attitudes the character needs to develop and what situation will push them toward change. A lazy character will never put forth major effort unless he is faced with a situation where complacency will cost them more than they are willing to lose.

The more difficult the choice or action, the more that is revealed. A character who may tells white lies to survive a hostile work environment may be able to rationalize away minor dishonest decisions if there are no real consequences to her actions. That same character may be appalled and go to authorities when asked to participate in fraud that would hurt others.

The more the reader learns about the character, the more connected they will feel to him or her. The conflict should be meaningful and realistic enough that the reader feels an emotional connection to the character’s struggle to make the right choice.

Conflict and Change

Happy characters don’t grow or change. They must face crises in order to progress through their journey. When developing the character arc, two to three pivotal changes the character needs to make. These may be learning a skill, overcoming a shortfall, developing emotionally, etc. You can then work backward and choose a crises/conflict that will force the character to make choices and grow in a way that helps them make that change.

Conflict forces characters to act, which then necessitates change.

Writing Compelling Conflict: The Purpose of Conflict

Conflict drives a story. Lack of conflict or weak conflict makes a story drag and languish. Unrealistic conflict drives readers away.

What is Conflict?

Conflict is the struggle between two opposing forces. In fiction, a character struggles against another force, such as another character, the environment, him/her-self, etc. There can also be multiple forces the character is at struggle with. In fact, there generally should be multiple forces. Usually this is accomplished through subplots and competing needs or desires.

Conflict can be broken into two categories: Internal and external.

Internal conflict arises when a character experiences opposing emotions, ideas, or desires. The conflict causes emotion or mental anguish and often manifests in external struggles in relationships, professions, or meetings goals.

External conflict arises when the character gets involved in a situation where he/she struggles against an outside force which stunts his or her progress toward a goal. This is typically marked by action of some kind. The type of action depends on the storyline and goals.

The Purpose of Conflict

Conflict is what keeps readers reading…until it doesn’t. Conflict keeps the story moving forward by pushing characters to make decisions, take action, and engage with the story world. If there is no action or the action isn’t compelling enough, that progress stops or slows to a point that readers may lose interest.

Developing deep, rich conflict will keep readers engaged and interested. Change in the story and character push the reader to keep asking questions, such as what will happen next or will the hero accomplish her goal. Wanting answers to those questions are a big part of what keeps a reader’s attention.

Conflict also helps a storyline feel more realistic. When everything works out too easily, readers get bored and move on because they know that in real life things rarely go so easily. Readers want there to be struggles in a story. They relate to the character’s experiences because they struggle to accomplish goals in their own lives.

The deeper and more realistic the conflict is, the more the reader will be drawn into the story and become invested in the outcome. Conflict helps the reader see his or her self in the story. Believing that the character will succeed or meet a goal helps gives hope that the reader will eventually have a similar outcome.

Having said that, conflict should make the reader doubt that everything will work out happily. If it is too obvious or certain that the character will get everything he or she wants despite facing challenges, it can cause the reader to lose interest. Remember that questions and the need for answers to those question compel the reader to keep reading. If those questions are too easily answered, interest flags.

Even in romances, where a Happily Ever After ending is often required, how and to what level the characters end up happy should not be obvious to the reader in order to maintain a questioning experience.

That doubt keeps readers engaged with the storyline.

Excerpt: The Stressed-Out Girl’s Handbook

Just to offer up proof to my poor readers that I have actually gotten some writing done lately, here’s the first chapter of the third book in The Handbook Series, The Stressed-Out Girl’s Handbook.

My head fell into my hands after I ended the call, thinking for the dozenth time that day that I simply couldn’t add one single more thing to my plate without my head exploding.

The resident-side door opened to the office and Sara walked in. A visit from my favorite resident and friend usually put me in a better mood. The guilty expression on her face said this would be a rare exception.

“Hey, Aspen. I need a small favor,” she began, “if you can squeeze it in tomorrow. I know you’re getting ready for classes to start Monday, and I wouldn’t ask if I had any way of getting there myself.”

I cringed internally, but Sara was the only reason I’d passed calculus last semester and I knew I would do whatever she needed of me. “Of course. What is it?”
“Monroe and I are booked all afternoon tomorrow checking out reception venues,” she began.

Frowning, I couldn’t help interrupting. “I thought you picked a place months ago.”
Sara sighed. “We did. And then a pipe burst and it flooded. The damage was pretty bad and they said there’s a chance repairs won’t be done in time, so we’re scrambling to find a new place.”

The more Sara got into planning her and Monroe’s wedding, the more I wanted to stay far away from marriage for the foreseeable future. “I’m sorry, Sara. That really sucks.”
She shrugged and shook her head. “Something was bound to go wrong. At least we still have a few months before the invitations have to go out.”

For a moment, she seemed lost in her thoughts, probably mentally running through the checklist she reviewed constantly to make sure she wasn’t overlooking something.

“So, what did you need me to do?”

Startled out of her thoughts, she chuckled. “Sorry, yeah. The photographer we booked wants to take a look at the church we’re holding the ceremony in to take some pictures and plan everything out. The only day the caretaker is available while the photographer is in town is tomorrow afternoon, of course. He won’t let the photographer wander around unescorted, and he’s too busy to do it himself.”

“What time?” I asked, trying to keep the wariness from my voice.

“Two,” Sara said in a tone that was hopeful the time wouldn’t be a major inconvenience.

I held back a sigh. “That’s totally fine.”

It wasn’t, but I would figure out how to make it work.

Sara leaned over the dividing wall and hugged me. “You’re a lifesaver!”

“No problem,” I said.

Sara didn’t catch the drop in my tone. After hurriedly giving me the address and contact info for the photographer, she rushed off to meet Monroe for some other wedding planning task. As soon as she disappeared form view, I sank into my chair.
My last weekend before the fall semester started was supposed to be relaxing. I’d even turned down invites from friends and classmates to go out and let loose a little before having to bury myself in lectures and assignments again. Ten minutes after I’d so no to a weekend of drinking and dancing, the calls, favors, and unexpected tasks had begun pouring in. I wasn’t even sure where I was supposed have time to eat at this point.

Plopping my chin onto my hand, I stared at the clock. Half and hour to go until the end of my shift. At least I would have the rest of the afternoon to catch up on cleaning and grocery shopping. I hated starting a new semester already feeling like I was behind. Sadie would be gone all weekend, thankfully. As a roommate, she wasn’t the worst, but she was far from the best either. If I didn’t get the apartment settled this weekend, it would be Christmas break before I had time to de-Sadie the place. Tidiness was not her best attribute. Neither was being quiet while endlessly playing video games.

The office phone rang and I snatched it up. The well-practiced, polite and cheerful greeting I’d perfected over the last year, spilled out of my mouth.

“Aspen,” my boss Archie said, “Cameron called in sick. I need you to stay until six.”
I balked, an absolutely not parked on my lips. I’d already covered for him twice over the past two weeks, and I had no doubt his illness was called going out to party with his friends.

“Is that a problem?” Archie prodded.

“No,” I said, deflated. “I’ll stay.”

“Great. Thanks.”

He ended the call too quickly to hear my sigh. Cameron had worked here two years longer than I had, and despite his spotty track record of showing up on weekends, holidays, or nights when he’d rather be doing something else, Archie never made a big deal about his absences. Part of that was because I had never failed to cover one of Cameron’s missed shifts, but I suspected it was also because he reminded Archie of his grandson.

The fact that I was stuck here for another five hours meant I had plenty of time to make the call knew I would need to make after Sara’s request. I stared at my phone. Texting would be easier, but pointless. She’d never see it. Even if by some miracle she did see a text from me, replying was out of the question, so I would never know whether or not it had been received.

Phone call it was.

I unlocked my phone and immediately felt like it was mocking me. My call history was still up, the number I needed to call at the top of the list, as well as the next in line, and the next, and the next. She wasn’t going to be happy. I’d already agreed to help Sara, though, and that was more time sensitive. Not that she would see it that way when I told her I would be delayed.

The number stared back at me for several more minutes as I choose my words. By the time I finally made the call, I had rehearsed both side of the upcoming conversation and dreaded it even more.

She picked up on the third ring.

“Aspen, is everything all right? You’re still coming, aren’t you?”

Weariness spread through me at her panicked tone. “I’m still coming, but I’ll be a little later than expected.”

“How late? I need you here.”

She didn’t. Not really.

“Half an hour, maybe an hour,” I said. “I’ll be there, though. I promise.”

“But…”

“You’ll be fine.”

“You don’t know that,” she argued.

I did, but saying so wouldn’t make this conversation end any quicker.

“It will be fine.”

She gulped in a worried breath. “I’d really rather you came at noon.”

“I can’t. I don’t even get off work until one. I already told you that.”

Her fear and frustration were almost audible. “I don’t like changes. You know that.”

Boy did I ever.

“I’ll be there as soon as I’m done to check in on you, okay?”

Several seconds passed in silence. “Are you sure you can’t come earlier?”

“I’m sure.”

She sighed so long and deeply that I couldn’t resist rolling my eyes. “I’ll see you tomorrow, okay?”

“Okay.” Her voice was morose, her single-word response stretched out.

I offered a quick goodbye and ended the call.

Tossing the phone down did little to ease the mounting stress. It was settling behind my eyes, promising a headache that would linger. I was tempted to lay my head down on the desk, nap and hide from any additional problems.

The office phone rang. I groaned out loud and glare at it before snatching it up.

“Manager’s office. How can I help you?”

“Um…there’s water pouring out from beneath the kitchen sink.”

Villains and Secondary Characters: Positioning and Mystery

When considering the character arc of villains and secondary characters, how that arc resolves is often considered in relation to the hero/protagonist. That does not have to be the ultimate determining fact, though.

Positioning

It is all right for a secondary character to start and/or end up in a better position than the main character. If a secondary character is better suited or more qualified to rule or win or gain a benefit, then it is logical that they would unless the writer provides a good enough reason for a different outcome. Secondary characters should be allowed to act on their strengths and fail or struggle based on their weaknesses. Don’t limit a secondary character’s arc just for the sake of making the main character look better.

It is also acceptable for a villain to reach a resolution that is more positive than expected. Part of a villain’s character arc may be self-improvement, so a better-than-expected resolution may be warranted. It may also be the case that an equitable ending between the villain and hero is not the most reasonable or desirable outcome for the story.

The hero (or villain) does not always have to end in that role. Switching roles are altering a main character’s path can be an important element of development for that character. Allow his or her traits and personality to determine the path taken, rather than locking him or her into a particular role.

Mystery

When writing a main character, it is often necessary to divulge a great deal of detail, going into backstory, motivations, thoughts, and feelings. When developing a secondary character, it is often necessary to be more sparing with details due to space constraints. That doesn’t mean that these characters are incomplete.

Revealing fewer details can work to your advantage and help you create some mystery and opportunities for future development in later stories or chapters. Reveal details about a secondary character that are pertinent to the main storyline or main character’s development. Hold back other details, but do so in a way that motivates the reader ask questions and wonder.

Give enough details about a secondary character that the reader can understand that character’s personality, culture, place in the story, relation to the story and main character in time, and his or her potential character arc. Leaving out more specific details reminds the reader that there is more to the story and makes the story world feel more realistic because it extends beyond the immediate storyline.

There is so much more to a great story than a lovable hero. Readers need to connect emotionally to every character on some level to keep them interested and involved in the story. Love or hate or something in between, reaction is key. Apathy toward characters breeds disinterest. Disinterested readers put books down and look elsewhere…permanently.

Villains and Secondary Characters: Mirroring Effect

Mirrors in fiction are characters who reflect the main character and reveal insights into the main characters behaviors, thoughts, and motivations. A mirror allows the main character to check the state of their own being or learn lessons from their mistakes.

Secondary characters often act as mirrors for main characters, however, that should not be their only purpose in a story.

Character traits in a secondary character that will be used for a mirroring effect need to be used realistically. This means that these traits need to come from somewhere and not exist in a vacuum.

Develop an element of his or her backstory that explains the trait, such as relentless pursuit of monetary success being related to a parent who could never consistently provide for that character as a child. The main character can see the actions the secondary character takes to reach his or her goal and use that as a barometer for how much she is letting her drive for financial success compromise her moral standing.

This level of similarity is recognized by the main character and causes dislike or disgust (or with an opposing trait, longing and need for a similar situation like a happy and respectful relationship). The main character thinks he or she knows the secondary character and can predict or expect a certain action or reaction, but often fails to fully see the same in his or her self, which leads to making mistakes. The reader sees the bigger picture and similarities more fully when this is done well.

Having said that, if the secondary character only exists as a mirror, that character will feel flat and less relatable. If their actions or emotional responses are too easy to predict the reader will be bored and likely not find that secondary character believable, which then lessens the mirroring effect. Emotions and drives are complex, and that needs to be true for secondary characters as well as main characters.

Well developed secondary characters are not always predictable, but when they do act as complex mirrors they provide opportunities for the main character to make mistakes and learn from them in a more believable way.

Villains and Secondary Characters: Altering the Focus

When you begin plotting or developing a story idea, the main characters are necessarily the focus, however, once you are into the details of the story it’s important to alter the focus occasionally to better develop the secondary characters.

If a secondary character seems to be falling to the wayside or not sticking in the reader’s mind, that can be a good time to turn the focus toward that character. This can provide a needed break from the main storyline and give the reader a change to process information or a big event or change while still progressing the story in an interesting way.

Shining a light of a secondary character’s motivations and desires may also give insight into his or her relationship to the main characters and overall storyline.

Consider questions of this nature to help you give a secondary character more meaningful page time: Who does this character love or hate and why? What does he or she fear? What are his or her thoughts about the journey taking place in the story? What personal issues of a secondary character may impact the main character’s journey?

It’s okay for a secondary character to have a life away from the main character. Most of their page time will relate to their interactions with or impact on the main character, but not all of it. Allowing a secondary character to exist semi-independently in the story provides more opportunities for that character to influence the story and main character because he or she is more fully developed.

A great example of a secondary character with an independent story that is only occasionally given focus (to great effect) is Cliff from Once Upon a Time in Hollywood. The viewer never gets his full backstory, but it certainly exists and seems to be quite interesting. It led to his connection and interactions with the main character, but it’s only brought to the forefront of the story when needed to explain why he sticks around and can’t find consistent work elsewhere in Hollywood. Even thought the viewer never gets to know Cliff fully, he feels quite complex and realistic.

Villains and Secondary Characters: Determining Role

Secondary character should have a distinct role in the story in order to avoid becoming filler and getting lost in the greater plot.

The role of a secondary character should NOT exist only in relation to the main character. This creates flat characters who are difficult to develop into more meaningful elements in a story. Consider why a secondary character is involved with a hero/villain and why he or she continues to associate with them. Taking a deeper look at motivation can help confirm their role in the overall story.

A secondary character with a strong sense of duty may struggle to disentangle themselves from a main character making harmful decisions, or a secondary character who is a friend and coworker of the main character may be riding that character’s coattails of success in hopes of moving up themselves. The deeper you dive into why a secondary character exists in a story and how he or she will impact it, the more engaging and interesting the character and story will be.

It is very easy to fall into stereotypes with secondary characters. Stereotypes can be a good starting point, but should never be the end development of a secondary character. Be mindful that you are not pigeon-holing a character into a role such as the comic relief, love interest, lovable rogue, wise old mentor, token diversity character, etc. If you can describe a secondary character in a few words or less, he or she needs further development. Where did that most noticeable characteristic come from and what purpose does it serve for that character?

A secondary character’s thoughts, actions, and choices should be largely based on their own needs and desires and not always fall back to what the main character needs or wants. While secondary characters do serve to aid the development of the main character and move the story along, be sure to weave in his or her own development and progress. This will add important layers of realism to a story.

If you aren’t sure yet why a secondary character might do or say something, take some time to create a backstory for him or her. You may not use most of the backstory information you develop, but it will help you better understand the character and write them in a more realistic and relatable way. The backstory may only be a paragraph or two, but it helps cement that character as an individual in your mind while writing.

Understanding a secondary character’s role in the story will help you better integrate them and make them stand out as memorable and interesting to the reader.

Villains and Secondary Characters: Secondary Characters with Impact

While secondary characters are typically less integral to a story, that doesn’t mean they should be any less real.

Secondary characters should still have some level of a character arc, though it will necessarily be less complex than the main character’s arc.

Even though much of a secondary character’s backstory may never see page time, it’s important that you know their story and personality so you can weave it into their interactions with the main characters. This will not only make them more memorable, it will also make the interactions more meaningful and provide a fuller scene with the main character.

Secondary characters should also have a purpose. They should, in some way, help to progress the storyline through their presence or interactions with the main characters. This may come in the form of providing assistance, revealing information, being an emotional support, etc. How a secondary character progresses the story depends greatly on the type of story it is, but be mindful that they should be serving a purpose and not be acting a page filler or a basic sounding board.

It’s also important to consider a secondary character’s motivation. Why is he or she helping this character? Because you, as the author, need them to is not a good enough reason. Reach into their backstory to find and then develop their motivation. Help doesn’t have to be entirely altruistic either. The secondary character should have mixed feelings about providing help, or be reluctant to offer it. It could also be self-serving or their presence could act as a hindrance or barrier rather than being helpful.

Secondary characters exist on either side of the protagonist-antagonist spectrum. Don’t short change secondary characters involved with the villain/antagonist. These characters can be important cogs in the overall mechanism of how the antagonist’s path and ultimate resolution unfold. An antagonist taking something too far could prompt a secondary character to walk away, leading to him or her reconsidering what they are doing. Alternately, a secondary character who wants the antagonist to fail could give the final nudge to push him or her over the edge and initiate a chain of events that leads to his or her downfall.

Secondary characters may have less page time than main characters, but their influence on other characters and events can be profound when the time is taken to full develop them and integrate them into the story.