The first part of this two-part series covered the importance of complications and how to test whether the complications you are are adding are within the framework of your story. In this blog, we’re going to look at the different kinds of complications typically found in stories.
There are many ways to add complications in your story. In a romance novel, it might be rival or obstacle that keeps the two main characters apart. In a mystery, it could be a serial killer or a lack of clues. In SciFi, it might be an alien invasion or a dystopian world that oppresses its citizens. The list is limited only by your imagination.
The most common complications fall within these main types:
The Withhold
This is a type of complication that withholds what your character wants. It’s a simple type of complication that teases your protagonist with something just behind her grasp. Perhaps it is an emotional want, such as love or acceptance. Or perhaps it is more tangible—vital information or a specific object. Maybe it’s the Sword of Destiny or the spell that will slay the demon. Or it could be bigger than that. Perhaps it’s a natural disaster preventing her progress or a corrupt government or zombies, werewolves or other supernatural barrier to her goal. Whatever you choose, this type of complication results in something being kept from your character. Think of it as the “Monkey in the Middle” type of complication. Someone or something is playing keep-away with your character.
Imminent Danger
This type of complication is popular in thrillers, mysteries and natural disaster stories. Whether your character faces danger from an assassin or a storm, it’s essential that it puts your character in immediate and intense danger. Again, this doesn’t have to be a physical form of danger. Perhaps your character is being gaslighted? Maybe she’s suffering from emotional or mental trauma? Maybe she’s been dumped. This type of complication puts your character into a vulnerable position that could go either way. The uncertainty of outcome is what makes it work. What choices does your character make when presented with the complication? What happens next?
The best part about this type of complication is that it can take many forms. It could be a recovering alcoholic being handed a drink or a girl being stalked through social media. A serial killer, assassin or spy about to be identified. Whatever form you choose, make sure it matches your character, story and throughline.
The Big Reveal
This is the complication that arises from too much information or unexpected information that changes everything. It might be your character finding out she’s adopted or that she’s been lied to and betrayed for years by someone trusted. It may be finding out that her spouse cheated or that the doctor cheated to pass the medical boards. This is what happens when the truth comes out and how your character reacts. One of the most famous examples of this type of reveal is: “Luke, I am your father.” *
Tiny, Character Complications
Not all complications are big and amazing. There are many opportunities in stories to include tiny complications that are specific to your character. They also make your story more realistic. These complications are similar to the irritations we all face daily. They both test and reveal us. If someone blows up because of a delay or from getting the wrong order in a restaurant, you learn something about that person.
You may choose to include a small complication to drive home a point or set up another scene. Maybe you have a clumsy character who causes an accident that raises the stakes for everyone involved. Maybe a character misspeaks at the worst possible time and causes all kinds of fallout. Or perhaps they can’t speak when they should and their silence becomes a problem. Complications can be both tiny and effective if they move the story forward or reveal character or both. Look for ways to include small complications between the larger ones to keep applying pressure to your characters. These smaller incidents also give your reader a break between the bigger ones.
No matter what type of obstacles you choose to include, they will likely fall within the four main types of complications:
Character Against Society
These are complications that have your character facing off against the community around them. Think Katniss Everdeen in The Hunger Games by Suzanne Collins or Jonas against the Sameness in The Giver by Lois Lowry.
Characters Against Nature
This type of complication pits your character against his environment. Think Brian in Hatchet by Gary Paulson or Hig in The Dog Stars by Peter Heller.
Character Against Villain
This is the classic hero versus villain relationship. Think Sherlock and Moriarty in The Adventures or Sherlock Holmes by Arthur Conan Doyle or Clarice Starling versus Buffalo Bill and Hannibal Lecter in The Silence of the Lambs by Thomas Harris.
Character Against Self
These types of complications require your character to change or lose everything. Think Ellis Reed in Sold on a Monday by Kristina McMorris and Pival Sengupta in America for Beginners by Leah Franqui.
Complications are part of exposition, tension and pacing—all areas being featured in upcoming blogs. Keep an eye out for them.
* Yes, I am aware this is not the proper quote from the movie. I am using the popular paraphrasing to make my point. I am also aware this qualification identifies me as a geek and I am okay with that. It’s not like i don’t attend AwesomeCon every year.