Conflict 3 - Us against them

Recently, I heard a reading of a new play (one act) that left me totally charmed. I wasn't alone. Audience members gushed about how positive and uplifting it was. I chewed on it while others dropped in their comments, and the lightbulb went off. The two characters were in league. They were not in conflict with each other; they were in conflict with an external entity. The whole story was about finding ways to help each other — first with the initial technical problem, then with problems they shared regarding relationships.

Such an "us against them" conflict is, in my experience, rare for a stage play two-hander. Most such plays are battles between the characters. So that was a surprise. In addition, the transition from a technical problem to one of relationships was illustrated by the actual development of a relationship between these characters (who began as strangers).

I think that looking for conflict can blind writers to a lot of possibilities for such us against them stories. Romance is one of the few genres where it's easy to pick out mutual appreciation and support through a pair of characters. "Friends to lovers" is an actual trope, with many examples. We love battles. Romantic comedies almost always are founded on a big secret (lie), where the subtext is creating enough vulnerability in a character to make the truth acceptable. Basically, therefore, the two characters are fighting for the same thing, though neither of them really understand it until a lot of work is done.

Friends to lovers can be part of a story, as is true in When Harry Met Sally…. Obviously, the truth can also be true in a buddy movie, which often plays like a romance without connotations of sex. And many team movies are about the development of mutual admiration and respect. Remember the Titans begins with a lot of internal conflict, but advances to the need to come together for a higher cause. And, interestingly enough, a heist movie like Ocean’s Eleven begins with all the characters together working toward a common goal, without much internal conflict, and deepening relationships based on mutual testing and support through difficulties and unpleasant surprises.

In my experience, one of the best ways to build a connection is to work side-by-side with someone on a difficult project. Bonds are formed that matter more than differences and flaws. And I think that's the basis of the deep attachments that people have for Star Trek, The Lord of the Rings, and Star Wars. I'll note that it's quite common when groups are larger than two for betrayal to be a concern or an important plot point. Sacrifice is usually a major element, too. Often, the strength of the relationship is validated by what each character is willing to lose. The Gift of the Magi by O. Henry is a nice example. The husband and wife sacrifice what's precious to them for the other, and even though the practical value of the gifts themselves is nullified, their love for each other is exposed. (I'll note that secrecy is essential to that story.)

There's another area of us against them that's worth mentioning — mentor/mentee relationships. Though there may be some tension around the mentee needing to gain some independence, most of the stories that include such relationships have both characters working toward the same goal and, as they face challenges, becoming more dedicated to each other. Without an outside force, the relationship would remain casual and unproven.

As I worked on this, I noticed that almost every dimension covered here is present (not necessarily between the same characters) in Jerry Maguire. In fact, it's a film worth exploring to see how each plays out to create a positive story with a feel-good ending. And by observing and mastering these ideas, you may more easily create stories about friendships that are all too rare.

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Sept-Oct course
Surprises, Secrets and Revelations - Adding Memorable Twists to Your Stories
September 20 - Oct 17 


How do you keep a reader engaged? One tool is using the desire to find out what happens next. That means predictability is the death of stories. Many people will put down a mystery as soon as they figure out whodunit. And “spoilers” that give away turns and plot points in a movie or a TV show can ruin the experience for audiences.

Twists in the story road add interest by shifting power, revealing intent, and taking things in unexpected directions. They may be tiny or they may be huge. Chandler suggested adding someone coming through the door with a gun when things got slow. Dickens exploited secrets, including family relationships. O. Henry made a career with surprise endings. The Sixth Sense reset the reality of the story in the final minutes of the film.

Surprises may come naturally, as when writers surprise readers because they surprise themselves. But they also can be planned, injected, shaped, and highlighted deliberately.

Lesson 1 The uses of surprise, secrets, and revelations
Lesson 2 Raising questions and surprising yourself
Lesson 3 Faking out the reader without being fake
Lesson 4 Mistakes to avoid
Lesson 5 Pacing (expected/unexpected)
Lesson 6 Planting information
Lesson 7 Revolting developments (amplifying impact)
Lesson 8 Delving deeper
Lesson 9 Working for wonder