In the last post, *I shared the beginnings of a short story. I attempted to set up the ‘reality’ of the magic in the story – our main character (Robert) can teleport himself, but it uses up his memory. The reader can also see how his mentor and lover (Carla) has a lot of influence over him – she’s clearly been goading him along through his magic training despite his reservations.
Now I can set up more conflicts and make things worse for my main character.
Robert wants to go back to his mother’s place for Thanksgiving. He’s planning to buy a plane ticket and just fly there, but Carla appeals to his vanity. He wants to do much more with his magic than simple tricks – and Carla picks up on that and tells him to use magic to get to his mom’s place.
Robert is hesitant. He’s only been practicing short range teleport tricks, and he’s having trouble controlling the cost of the magic to his memory. Carla keeps pressing him, saying that the distance doesn’t matter – the magic works the same way regardless of the distance. She tempts him with a promise of more magic spells if he can prove his mastery of teleportation.
These are my complications – for this short story, I have two main complications that make the initial problem worse. For a longer story, you’ll need more complications – each one somehow relates to the initial challenge facing the main character (MC) and makes it more difficult then they realized.
My Story So Far
An amateur stage magician learns real magic from his lover and mentor, but is unprepared for the mental cost of using his newfound power.
MC learns that his flight to New York to see his ailing mom for Thanksgiving has been delayed, but his new powers offer him a way to get to her.
MC’s lover and mentor persuades him to try, despite his reservations. Clearly she has another motive for wanting him to advance so far with his magic so quickly, but MC can’t see it through his love for her and his desire to do something great with his power.
Now come up with extra conflicts for your story.
If you are writing flash or slightly longer fiction, you’ll probably only need two conflicts that relate to the main problem and make it worse. Get the problems from your story’s environment, your character traits, or sudden accidents or incidents that could develop from the situation you’ve imagined. Your MC should be in a really difficult situation – and the reader should wonder just what they will do next.
I’ll share my results on Thursday. See you then!