From an ant's point of view

From an ant's point of view the world is a dangerous place. Stories can be told about anyone and anything. As long as it moves, as long as something happens, as long as the reader is forced to ask questions, to wonder . . .what will happen next?
Conflict can be two people arguing.
A brick dropping two inches in front of the ant as it follows a trail down a mountain.
Conflict is a problem or just something different and unexpected that is not met with complete complacence.A character who is happy is boring.
As Tolstoy so famously said (and I paraphrase):
Every family is happy in the same way and every unhappy family is unique.
Same goes for people. But the feeling of unhappiness, or angst, or frustration -- is universal. So, we can all relate to it.

Feelings are universal. All people all over the planet -- and maybe some other planets too -- share the same feelings about the same things more or less.
When we are happy, we smile. When we are sad, we cry.There are exceptions. Some people don't cry because they have been taught not to. But a baby cries for help. If your story, or your book, taps into a universal feeling, it will have appeal. Provided, the writing used conveys the message.
No story can be so rooted in particular data that it is feelingless.

Or to put it in an opposite way, whatever weird plot or problem in your story, it boils down to a few basic issues -- jealousy, revenge, heart-ache, pain, war, victory, competition, struggle for survival, desire to fit in. You need to know what your book is about, what the main issues will be -- at least by the time you finish! It helps to know while you are writing, but don't think this is an absolutely necessity.

A guide from Pixar (on Slideshare) said: (and I paraphrase again)
1) Go for theme in your plot, but don't worry if you don't really know what your book is about until the end. Sounds weird, huh? How can you not know until the end? I will explain why: (This is based on what I learned when teaching 11th grade American Literature to a bunch of Orthodox Jewish Girls in L.A. - and we studied a lot of short stories.)

All successful stories-- classics, novels etc-- can be broken down.
Identify the Main Characters and the Antagonist: a person, animal, creature or force of nature.
Then, the Main Conflict. Conflicts include: human vs. human; human vs. nature; human vs. him or herself  -- an internal, psychological struggle.
Then, the Climax. Think: point of highest tension, toward the end. The final show-down.

Last, the Resolution. How is the Climax resolved?

You may only know this while you are writing the very end.
Let's say you have a story about a couple that goes from super happy and blissful to fighting like dogs and then decide they need to break up .  . . . or Romeo and Juliet, star crossed lovers, the two of them against their families! Will the girl leave the guy at the end or kill herself or kill him? Sorry if this is a bit graphic, it's just what came to mind...

I've heard that that the writers of Casablanca -- one of the greatest films ever made, did not know how the story would end until they were almost ready to shoot it. So, you see, not knowing that very last bit at end until you get there is okay. Sometimes, you just need to see what feels right, what the characters will actually do. Then, it is real and unexpected and doesn't feel forced.

Happy writing and I'd love to hear thoughts and comments.