It's unfortunate because some ideas are best expressed in other languages. For example, sine qua non is a Latin legal term that we must translate into the more awkward, "without which it could not be." Sine qua non, captures the notion of something so necessary it's definitional.
I thought of that phrase when in a comment on Non-character Antagonists and Conflict, Anne Gallagher said:
Sometimes I think dealing with internal conflict makes a better story. Character driven narrative rather than plot driven.Anne is right: internal conflict is the sine qua non of story.
I'm also under the impression (in my genre I should clarify -- romance) there ALWAYS needs to be internal conflict for either the hero or heroine. One must always be conflicted by love.
Some of you, particularly if you equate internal conflict with navel gazing or whiny teenagers, may roll your eyes at that assertion. You may say, for example, that your story is about action and plot and your characters neither want nor need to take time off from dodging bullets to inventory their feelings.
I understand your objection, but answer this question: what's the common wisdom about characters and flaws?
If you said (thought) something along the lines of flawed = good (i.e., relatable and interesting), perfect = bad (i.e., boring or self-indulgent), you've been paying attention. (And if your answer includes, "Mary Sue," give your self bonus points).
So why do we like flawed characters?
Is it because they allow us to feel superior?
No. It's simply that flaws produce internal conflict. That's what people really mean when they say they find flawed characters more compelling than perfect ones.
Internal conflict gives us greater insight into character. There's nothing to learn from a perfect character: if we can't compare and contrast the thought processes that early in the character's development lead to failure and later to success, we can't apply any lessons to our own behavior.
Internal conflict also creates a greater degree of verisimilitude (because who among us doesn't have a seething mass of contradictions swimming around in their brain case).
Internal conflict and the expression of character flaws arises from uncertainty. If your characters are certain about how to resolve the problem, you don't have a story you have an instruction manual.
Ergo, conflict is the sine qua non of story.
That said, stories where conflicts at different levels reflect and reinforce each other are the most interesting because their resolution can be the most satisfying.
Deren Hansen is the author of the Dunlith Hill Writers Guides. Learn more at dunlithhill.com.