Introducing Central Conflict (How Late Is Too Late?)

[jacksimmons]

My current WIP is set in the distant future. Humanity has already spread throughout the galaxy and have since created a species-wide Simulation where the majority of them now reside. My main character (Jace) is awoken from the Simulation by a group of humans who wish to collapse it so that humanity can return to literally conquering the stars.

My first chapter introduces the reader to Jace's backstory of having come from the Simulation, has it's own small plot of Jace and his main group attempting to retrieve an instrumental item in their fight, and establishes the dark and dystopian nature of the post-human galaxy.

It's occurred to me that it isn't until the end of the 2nd chapter that the main conflict of the story is fully laid out for the reader, ie. this group of humans (called the Romantics) wish to destroy the Simulation and wake up humanity in order to allow them to prepare for a future threat, the eventual arrival of an alien civilisation in the Galaxy. Jace's internal conflict rises from his connection to this new family in the real world, coupled with his desire to return to the Simulation where he has a perfect life and a wife called Alice waiting for him.

So my question is, is this a big problem? As a reader, would you need to know the central conflict from an earlier point in order to be fully invested in the story? Or is this early enough? It's probably going to turn in to a pretty big book (if I finish), so Chapter Two is still early in the story, but it's still about 10k words in.

Thanks in advance for any suggestions/advice.

 

[AllanR]

There's a few parallels from your story to The City and the Stars by Clarke. It isn't till very far into that book that we learn the need to

wake up humanity in order to allow them to prepare for a future threat, the eventual arrival of an alien

 

[jacksimmons]

There's a few parallels from your story to The City and the Stars by Clarke. It isn't till very far into that book that we learn the need to

I will have to look up (and probably read) this just to check I'm not totally ripping off Clarke haha. (Although aren't most of us already in one way or another...)

 

[Wayne Mack]

I find it quite common for the main conflict to be introduced in the second chapter. Often the first chapter will consist of an almost stand alone story to introduce character, environment, key capabilities or the like, which sounds like what you are describing. I am also, however, a big believer in listening to one's inner voice. If something is saying that the first two chapters aren't working, take heed and continue to try and diagnose the issue. I know I have just given a 'it depends' answer, but that is probably the closest to the truth.

 

[Brian G Turner]

My first chapter introduces the reader to Jace's backstory

Red flag here. Drip backstory through the book. Common aspiring writer mistake to want to include it at the start to explain everything to the reader. The way to start a story is with the story, not a looooonng introduction. People don't read introductions, they put them down and move on to the next book.

 

[jacksimmons]

Red flag here. Drip backstory through the book. Common aspiring writer mistake to want to include it at the start to explain everything to the reader. The way to start a story is with the story, not a looooonng introduction. People don't read introductions, they put them down and move on to the next book.

Thanks for the advice. I’m well aware not to do this. It’s not dumped in a long expository passage at the beginning but spread throughout the chapter, and just the bare bones of what’s needed to explain character motivations for that chapter. Lower the flag!

 

[jacksimmons]

I find it quite common for the main conflict to be introduced in the second chapter. Often the first chapter will consist of an almost stand alone story to introduce character, environment, key capabilities or the like, which sounds like what you are describing. I am also, however, a big believer in listening to one's inner voice. If something is saying that the first two chapters aren't working, take heed and continue to try and diagnose the issue. I know I have just given a 'it depends' answer, but that is probably the closest to the truth.

Thanks for this. Honestly, this was my initial instinct and I feel that the chapters at the moment ARE largely working, but I also try and challenge my instincts where possible because I’m aware I’m a youngish aspiring writer and definitely don’t know everything. So I challenged, then worried, then thought I’d better reach out to see what other people thought. Thanks for the comment.

 

[tinkerdan]

All great advice.
I would add that you should move on and try to finish the story.
My experience is that once you have at the minimum a rough draft of the entire project, you will find it much easier to focus on how it should start and you might be surprised to find you started it right where it needed to start.

 

[DLCroix]

Thanks for the advice. I’m well aware not to do this. It’s not dumped in a long expository passage at the beginning but spread throughout the chapter, and just the bare bones of what’s needed to explain character motivations for that chapter. Lower the flag!

To me it's exactly the same, and although the comparison to the Matrix will be obvious, in my opinion the best plot solution is still for the characters who are already aware of the simulation to organize some kind of successful infiltration in order to, as Morpheus did with Neo, awake a considerable number of people who will be the base of the rebellion. At least, as a reader, I would like much more a rude awakening in which the boys do not understand anything of what is happening but there is also no time to explain anything because perhaps they have already been discovered and we have to get out of that place right now. That in my opinion would give more emotion to the story and would keep me much more aware of what is going to happen than if someone starts eating an apple while explaining that background that you want to include in those chapters in such a tedious way that it makes me abandon the book immediately. The old AIDA formula still works: Action (something that happens...), interest (...that catches my attention...), desire (...and arouses my desire for...), action (... .buy the book).