This microprinciple is inspired by Miss Eleanor Larsson.
If they weren’t there, we would have created them
Maybe, it is true
But I’m resentful all the same
Someone’s got to take the blame
–Ignoreland, R.E.M.
As the fairy tale unfolds you lament: “That evil stepmother, ogre, or congressman is ruining everything!” Then you realize: there is no story without a bad guy. The hero of your story needs an antagonist and so do you.
More than words, more than math, the story is our most potent algorithm to transmit meaning. A story’s meaning comes from its shape and a story’s shape is defined by conflict and tension. And for those you need an antagonist.
Antagonists stand in the way of whatever the protagonist wants. (You can use less highfalutin words like “good guy” vs “bad guy,” so long as you remember that darkness is not the same as evil.)
The good guy wants to destroy the ring of shame; the bad guy wants to wield it.
The heroine wants to get on the plane; destiny delays her flight with a thunderstorm.
The protagonist wants to step closer into love; his antagonist, the fear in his chest, prevents him revealing a truth.
All stories, including the monograph that is you, are a summit of forces in opposition. And conflict is more than storytelling spice: it’s the crucible in which meaning is forged. You need a little friction and so does your protagonist.
If you don’t have an antagonist, you will need to invent one. As your own life’s author, you get to (and have to) choose your adversary, so choose wisely.