Tease Out the Conflict

I’m working on revisions for Crash Test Spaniard and I am PUMPED UP about them. I have some seriously heavy conflict in this book, on both the hero and heroine’s side, that aren’t like any conflict I’ve ever written.

As I was writing the book, I was a bit scared of it, really. It felt strange and new and fussy to try and execute. I did have a lot of fun with it though, and managed to (mostly) keep the doubt crows at bay.

When I got my editor’s revisions I was really excited because it was all about, as she put it ‘teasing out the conflict.’

It was there, but I had missed a lot of great chances to really draw the reader in. I had missed a lot of chances to capitalize on the emotion.

I’ll be adding a few new scenes to help emphasize some of what I’m bringing out, but for the most part, it’s about going through and adding bits here and there. Those bits (I’ve talked about this before!) that seem so small but have such a huge impact on the MS.

Basically, what I have is a log cabin. It’s furnished. It looks okay. Ignore the deer head on the wall. It’s…rustic. And really, it’s fine in some ways.

But there is more that could be done with it. There’s potential that hasn’t been realized! A little polish here, some art, some beautiful windows and hey! We might really have something. Oh yeah…and maybe do something with that deer head. 😡

Oh yeah, see? Now that’s better!

Okay, silly metaphor aside, I think you get what I’m saying. The building blocks are there. The material is there. But it needs refining. The focus needs to be sharpened.

My editor, who is a genius, divided things up nicely for me so that I could find an organized way of tackling this. First, the issues with the hero and his under-represented conflict. I’ve hinted at things rather than shown them, and his motivation could use some strengthening.

Then there’s the heroine. The major issue with her is showing a key turning point for her in the book, and making sure the reader understands WHY she’s changed her views on something that’s pretty darn big.

Then there’s an issue with their back story. This is a reunion story, and at the moment, I hinted at what went on before without giving a broad enough picture. Both of their joint pasts, and their separate ones.

When I break it down like this, it helps me move forward.

Basically, I have a plan for each of the three major issues. So I wrote down what needed to be done with the hero, and the heroine, and the back story. this just sort of helps me keep it straight, and then when I come to natural places to deal with these three things, I have it all lined out. Because really, the simpler I can make it, the better. :p

I’m going to try to be helpful and give you some questions to ask yourself as you address your own conflict, and whether or not it needs teasing out.

1. Offer it chocolate. (No no…sorry)

ahem.

Maisey List

1. Have you revealed the conflict in the most impacting way?

2. Have you used it to its fullest advantage? Or have you simply teased the reader?

3. Have you shown evidence of the character’s conflict, or just TOLD us it’s there?

4. Have we seen the characters change and grow, or, again, have we just been told they changed and grew?

5. Have we seen the turning points and what triggered them?

A lot of this is making sure you draw your readers in, and show them what’s happening. Make them feel it, make the understand it. Don’t simply say ‘and he has migraines and mood swings’ put it in his character, put it in the book. Make the talk match the action.

Oh, yeah, now I have to go do that. *stalks back to revision cave*