I've been reading this book...
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A story-worthy problem always relates more to the inner psychology of the protagonist and has to be big enough, dramatic enough, to change the protagonist's world and force him on a journey of change. Surface problems, on the other hand, are more like bad situations that reflect the actual story-worthy problem, but that aren't sufficient on their own to sustain and entire story. ~Les Edgerton, Chapter 3.In another spot in the book it mentions how the protagonists thinks they know what the main problem is, but they are almost always wrong--just missing the real thing. Their journey leads them and the reader to the story-worthy problem. Using those two things, let me give you an example from Sendek. Talia thinks her problem is that she's going to die a horrible death at the hands of the Draguman if she can't convince someone they exist, are coming, and the people of Sendek need to prepare to fight. That is a great bit of conflict. It builds tension throughout the story, but in the end it isn't the story-worthy problem. The deeper psychological issue is that when Talia's family died, she stopped living. Her real problem is learning to live again by letting others into her life. Being willing to hurt again in order to feel love.
Every problem--story-worthy and surface--has its own corresponding resolution or goal, so the resolution of a surface problem shouldn't also be the resolution to the story-worthy problem. Instead, the resolution of the surface problem should contribute to the resolution of the story-worthy problem. ~Les Edgerton, Chapter 3.Maybe this is all old news to you guys, but this is going to make my current and future WIPs 100 times better. In knowing the difference between the problems I can plan/plot/outline better and keep the end goal straight in my head. Each surface problem can be crafted to better define and guide my character to reaching the ultimate goal. Finally, Edgerton talks about digging deep to find this story-worthy goal. Deep into our own selves. Let loose your own personal demons and you will find the stuff of greatness. If you are emotional about the problem, it will come through your writing.
That means you have to let yourself out of the box.