I'm beginning to see something here. If this thread keeps up I may be stealing your idea (just kidding I don't like superhero stories) He's a guy that wants to be a superhero so on his first attempt and a few others he is a fumbler. He gets the crap beat out of him (or as you said, stabbed or something) Then a little girl that has lost her cat, a girl in his neighborhood that was the only one who believed in him with child like naivete, asks him to help her find the cat. That darn cat, he really got himself in a mess, which gets the superhero wannabe in a mess, but in the end he saves the cat, the girl thanks him, and then he "feels" like a hero. Ahhh, we all then feel all warm and fuzzy inside. The End.
Not wanting to rush things, but this can end several ways, can't it? He can eventually realise he's only an ordinary guy after all, and begin to accept he's not a hero ...and be okay with that. Even happy with that. Or he can feel like a failure and go take a long walk off a short pier. Or he can actually get to BE a hero. And maybe he'll either be happy with that, or wish he'd never tried to be anything but ordinary. What if fame enters the picture, and suddenly his life is no longer his own, and his every move gets watched? Or he becomes a target for criminals? Have you got an endgame in mind? I don't need to know what it is, but it would be good if you have one in mind. If you do, it will make writing the rest of your story much easier, because it will provide the focus. (It doesn't mean you can't change your mind, by the way. But it's good to have a purpose to work towards.) Number one, get a fucking job. That's a good place to start!
I thought about going the firefighter route, or even the actually being a hero route, setting the stage for a SERIOUS sequel. But that would contradict the entire point of my book, that superheroes don't exist. I do eventually want to make a serious superhero book, though. Like Watchmen. Another end I thought was him taking these lessons, and using his mini celebrity status to write a book called "A Deadbeat's Guide To Becoming A Hero" (the title of my book), and...not selling a single fucking copy. Roll credits.
♫ Everyone's a hero in their own way, everyone's got villains they must face. Sure they're not as cool as mine, but folk's its' fine to know your place. Everyone's a hero in their own way. In thier own, not that heroic way! ♫
Funny, because, while not the exact wording, early on, I was going to say something similar to this: "People say that teachers are heroes. Gimme a fucking break. You know who my heroes are? Batman, Captain America, and Larry Legend, a buncha northern kids just trying to make the most of their lives."
Just my opinion but: Conflict is very important in a novel. It doesn't have to be external, sometimes internal is a lot more fun so focus on giving your character more internal stuff. Also the bare bones of all conflict is GOAL. Conflict rises from a characters goal, want and ambitions. If they have little of that you end up with little conflict. Maybe your character's goal doesn't provide enough.
I always run into conflict when choosing what to eat at Red Robin. The more I like something, the worse for my health it is. Sounds trivial, but we all understand it, and if you use a little hyperbole and deep get into the character's thoughts, it could be funny and interesting. Every item on the menu might provoke something. And there might be all kinds of reasons for the conflict: is the MC on a date? At a business lunch? Going to a job interview that afternoon, and dressed in a suit? Lactose intolerant but loves milkshakes? And if they order bottomless fries, can they resist asking for a refill? And there's a definite story question, and a resolution. There might even be an epiphany, and character growth.
Not sure how. I wasn't sure what to call this thread, or really how to explain it. Basically, no real antagonist, no crazy revelations, nothing
Regarding both the question of conflict and that of action, have you seen the movie "Falling Down"? It's about a guy who wants to leave work and go to his daughter's birthday party. He gets fired, so he starts his journey pretty pissed. It escalates from there. There isn't some big central conflict, but a series of conflicts. The journey across town is as much about his reaction to things as anything else. Excellent movie.
Never seen it, will have to check it out. My story will somewhat escalate, but the story is more about how you CAN'T become a superhero. There's just too many obstacles to vigilantism in real life.
I wouldn't say that, it just doesn't lend itself to flamboyant, over the top theatrics, and contains far more moral ambiguity than the original Batman (s -- Batmen?) would have you believe.
As has been said before, conflict doesn't always equal action, in fact it rarely does. If you want your story to have a good ending I would suggest some kind of build-up/conclusion. For example, there could be a crime in progress, your character gets there and isn't allowed to intervene because the authorities are already taking care of it. If you wanted action you could show the crime unfolding and describe the frustration of your MC not being able to do anything to help. This can lead him to going home and hanging up his proverbial cape in a sombre ending. Alternatively, I would say that real life is boring, you're right there. And for most of us that's why we escape to fictional worlds/situations. It is okay to bend reality if it fits the narrative, don't overdo it and be realistic once you get there. Only 1 vigilante in a thousand might stop a mugging, but I'd rather read about him than the nine-hundred and ninety-nine people who did diddly squat, even if I do have to suspend disbelief for a page.
