by Mikhaeyla Kopievsky
Ah, ‘the middle’ – bemoaned the world over. Middle child syndrome causing siblings to feel overlooked and resentful; middle of the road thrown out in conversations to denote something boring and unoriginal; middle sections tortured by never-ending diets and exercise regimes. Even the adjective - middling – is a disaster, sending otherwise attractive nouns (like income, skill and appeal) into mediocrity.
I’m at that stage in my WIP where I am revising, fleshing-out and drafting my novel’s middle. The occasional euphoria at seeing that mandarin/sunrise orange of my Scrivener progress bar is always subject to the unease about the expectations of a great middle. Recently, I blogged about how I’ve discovered a range of business tools and techniques that are assisting me to tackle the challenge of writing a great middle – from triple-loop learning to gap analysis. Today I want to talk about SWOT analysis.
The common culprit behind many writing problems is a distinct lack of conflict. For problematic middles, poor or non-existent conflict is a killer. When you consider that the first plot point is the transition from the set-up of conflict in your first act to the realisation and consequences of that conflict in the second act, the importance of infusing well-developed and attention-grabbing conflict into your story’s middle is a no-brainer.
The easiest way to generate conflict in your book is to delegate it to your antagonist. Often, as authors, we are so caught up in the plight of our protagonists that we place too much a burden on them to carry the story for the entire novel. Middles are a great opportunity to give our protagonists a break and let the antagonists carry the story for a bit. In order to ensure our antagonists’ shoulders are broad enough to carry the load, we need to build them up. Developed, well-rounded and authentic characters are critical for generating solid conflict and a great technique for writing these characters is to put them through a SWOT analysis.
Strengths, Weaknesses, Opportunities & Threats
(image courtesy of Baba G, via Flickr Creative Commons)
SWOT analysis is a business analysis technique, which, despite some debate about its ongoing relevance in the business world, still offers useful application in the business of fiction writing and character development.
SWOT analysis comprises the identification, discussion and evaluation of an entity’s Strengths, Weaknesses, Opportunities and Threats – hence the acronym. Implicit in these terms is the potential for all sorts of conflict and tension - on an internal and an external level.
Generating internal and external conflict with SWOT Analysis
As indicated by the graphic above, STRENGTHS and WEAKNESSES evaluate the characteristics internal to the character (in this case the antagonist), whereas OPPORTUNITIES and THREATS articulate the circumstances external to the character. Let’s look at each one in turn.
S is for STRENGTH
Strengths are the advantages an antagonist carries with them into the battle against the protagonist. Like greatness, some antagonists are born with their strength, others achieve their strength and others have their strength thrust upon them. Strengths can be skills, attitudes, knowledge, superpowers or positions of authority. Moby Dick was born with his ferocity, strength and size in Melville’s classic, whereas X-man Magneto had his ability to manipulate metals thrust upon him at an age of manifestation. Misery’s Annie Wilkes achieved her physical dominance over Paul Sheldon due to his misfortunate accident, whereas Fahrenheit 451′s Captain Beatty worked his way up to the position of Fire Chief.
Developing or intensifying your antagonist’s strengths will help to further your story’s tension and conflict.
W is for WEAKNESS
Weaknesses are the vulnerabilities in our antagonists’ armour. Sometimes the weakness can be a a less-than-concrete commitment to the cause – e.g. an antagonist that ends up falling in love with the protagonist or an antagonist that is thrust into a family feud but has no direct, personal cause in it. Other times the weakness can be time-limited -e.g. a storm that cannot go on forever, or a superpower that can only be used for a period of time, beyond which the antagonist is severely exhausted. Weaknesses can be physical flaws or intellectual deficiencies, emotional connections (or disconnections) or problematic attitudes (e.g. over-inflated egos, delusions, misperceptions).
Exposing and testing your antagonist’s weaknesses will bolster hopes for an eventual protagonist win.
O is for OPPORTUNITY
Opportunities are the events and circumstances that are generated external to your antagonist and often beyond your antagonist’s control – A corrupt official that allows your antagonist the opportunity to get fraudulently elected; a once-in-a-hundred-year storm that provides the conditions for advantageous genetic mutation; the arrival of an exotic stranger that allows the antagonist to cast suspicion away from themselves; a painful rejection that allows the inner antagonist to question the protagonist’s hopes and dreams. Opportunities are not borne of the character, but antagonists can catalyse or facilitate them (by nudging a character here, or manipulating a circumstance there) and will almost always capitalise on them.
Giving your antagonist the means to capitalise on opportunity will help drive action, tension and conflict.
T is for THREAT
Threats are the events and circumstances generated by external entities that, if realised, will undermine your antagonist and possibly exacerbate their weaknesses or mitigate the advantages of their strengths. The most obvious threat to an antagonist is the developing strength and advantageous opportunities of your protagonist, but there are other, more creative, threats to consider. Distractions can offer viable threats to your antagonist – in much the same way as putting out multiple spot fires can take its toll on the ability to fight a firestorm. Threats can also come from the inside – a minion who dreams of a coup d’etat or a corrupt official who is willing to be bought by the highest bidder.
Plaguing your antagonist with a range of threats not only helps out the protagonist, but also gives you the opportunity to craft a story of two sides on the foundation of two fully-realised main characters.
How does your antagonist shape up after a SWOT analysis?