If you write fiction, read fiction, or read books about how to write fiction, you know the one thing a story absolutely, positively must include is trouble and plenty of it. If you don’t have trouble—otherwise known as conflict—you don’t have a story. But why is conflict essential for capturing our attention?
This seems like a worthy question to ask given the fact that conflict isn’t something we actively seek out in our daily lives. As Janet Burroway says in Writing Fiction:
In life, conflict often carries a negative connotation, yet in fiction, be it comic or tragic, dramatic conflict is fundamental because in literature only trouble is interesting.
There’s no denying that trouble interests us. We start looking for it at a very young age—specifically at about one year. Much of children’s play is organized around big trouble, including homicide, kidnapping, and getting lost or trapped. And children’s nursery rhymes are riddled with violence. Many child psychology experts believe children’s play helps them develop social and emotional intelligence. In a sense, children are rehearsing for adult life. (Hopefully their actual adult lives will be a bit sunnier than the danger-filled lives they appear to be rehearsing for.)
That doesn’t exactly explain adults’ continued interest in looking for vicarious trouble, but it does jibe with research indicating that people who read fiction have better social skills than people who read mostly nonfiction.
Looking for Trouble
We humans are, to a great extent, operating with the same brain we had back when we were traversing the savannah—a brain which, as John Medina explains in Brain Rules, “appears to be designed to solve problems related to surviving in an unstable outdoor environment while in nearly constant motion.” Doesn’t that sound like the plot of any number of books, movies, TV shows, and even video games?
It should be noted that many of us aren’t fighting for our survival, don’t spend much time in unstable outdoor environments, and are rarely in nearly constant motion. Of course, we still get into trouble, in spite of or because of our best efforts, but our troubles are of a vastly different nature from the troubles of our distant ancestors. Could it be that we’re so intent on “entertaining” ourselves by stirring up all this harrowing pretend trouble because it simulates the kind—or at least degree—of trouble our brain is used to dealing with?
Everything that Happens Happens to Us
Based on neuroscience advances over the past 20-30 years, we now know that our brain doesn’t distinguish very well between actual experience and vicarious experience. It reacts the same whether we read about or watch something awful happen to a fictional character or actually see that same thing happen to a person in real life. Watching a fictional disaster unfold on the screen or the page elicits the same response in our brain that it would if it were happening to us—even though we know it isn’t actually happening. (First, of course, we have to suspend disbelief, but that isn’t difficult for us to do primarily because we’re prepared to find stories compelling.)
We anticipate how certain types of books or movies will make us feel. That’s why we select particular books to read or movies to watch. We know how we’re likely to react to a story described as a “tearjerker,” for example. Some genres, such as suspense, thriller, action, science fiction, and mystery, make us feel anxious, frightened, uneasy, sometimes even terrified. Yet we keep going back for more.
This is pretty fascinating in light of the fact that the prime directive of the brain is our survival. Why would a brain that is intent on our survival create all these fictional worlds filled with trouble, disaster, loss, horror, and even death—clear threats to survival—for us to experience as if they were actually happening to us?
We All Lived Happily Ever After
Stories are notable for how they help us learn and remember. One reason is that stories include emotion, and we’re more likely to remember something that has a strong emotional impact. The greater the conflict or trouble in a story, the more emotion we feel, and the more emotion we feel, the likelier we are to remember.
But remember what exactly? The ending! All stories have beginnings, middles, and endings, but we don’t remember beginnings and middles nearly as much as we remember endings. If a story has a happy—meaning emotionally satisfying—ending, we experience a burst of feel-good neurochemicals the gives us a rush of pleasure and also ensures that we will remember how things worked out: the dragon was slain, the day was won, the quest was completed, the boy got the girl, the challenges were overcome.
In the end, a problem related to some aspect of survival was solved. Something was learned about the way the world works and how the people in it function. And we survived to get into trouble another day, just like (some of) our distant ancestors.
So one possible answer to the question of what’s so interesting about conflict is that it isn’t the conflict per se that interests us—or interests our brain. It’s the resolution of the conflict. When the hero or heroine of a story faces big trouble and not only survives but even triumphs, we feel as if we did, too. And that feeling is definitely worth the roller-coaster ride it takes to get it.