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I strongly believe in the power that comes from learning to write with intention and control. To me, this often means bringing things we notice from the subconscious experience of reading and writing into the conscious part of the mind, learning how they function, and gaining control over them so that you can give your readers an accurate, powerful reading experience.
Every story needs a character in a setting engaged in conflict. But sometimes writers get hyper-focused on one or two types of conflict, and never explore or include the other types. This can make a story feel flat or repetitive (similar to what I touched on in my plotlines post). Sometimes the writer senses that there is something wrong, so tries to add more to the story, but they end up either adding more to the same conflict, or simply adding the same type of conflict. Like always, I'm never going to say you can't ever do this, but just that it's almost always more satisfying if you put in a variety. Variety gives a story more depth and breadth--and also keeps things interesting. Conflict is key in moving plot, character arc, and theme forward--in other words, the whole story forward. No conflict = no story. If there is no struggle, the character never grows. If there is no opposing argument, the theme never carries its weight. If there is no antagonistic force, no climax is earned. Early on in my writing journey, I was only introduced to five types of conflict. And indeed you can find arguments about what does and does not count as a conflict type (and some types can overlap). But today I've put together a comprehensive list of the most prevalent categories--and I think just about any conflict will fit within one of them. I'll also share a few things about each along the way.
At the most intimate level, we have person vs. self conflicts. In regards to plotlines, you may have heard this called the "inner journey." There is usually a flaw, weakness, or misbelief the protagonist and/or another key character has and is struggling to overcome, which helps make up the character's arc. Often at some point, the character struggles with conflicting belief systems. For example, in A Quiet Place, Part II, Emmett struggles between believing people aren't worth saving vs. believing people are worth saving. As he comes to believe the latter, he completes his character arc. Any key character may struggle with doubt, assertiveness, confidence, costs, conflicting wants, or something else. They may be in conflict with themselves about what to do or who to believe. Even characters who don't arc drastically can have internal conflicts. And of course, you can have an internal conflict that isn't fleshed out into a full plotline, but may be an incident. A character may have a brief internal struggle about whether on not to trust someone they've just met, and that may only last a scene. Person vs. self conflicts are great at making a story feel personal and deep. They are often the most empathetic conflicts.
Frodo caught between wanting to destroy The Ring, and being tempted to keep The Ring. Simba struggling between believing he is meant to be king vs. turning his back on being king. Jean Valjean trying to decide whether he should reveal his identity and save a man from going into prison in his place.
Having a personal revelation (an epiphany) Making a personal choice Taking a personal action Giving into a personal weakness Overcoming a personal weakness Learning new information
Psychological death vs. life, or a better, healthier psychological life Loss of identity or sense of self vs. clearer sense of identity or a better sense of self Becoming something undesirable vs. becoming who they want to be Becoming unfit to do what is necessary vs. gaining the power and wherewithal to complete the task Coming to terms with a painful reality about one's self vs. fully accepting one's self How one's changing nature affects others (or the environment) around the character negatively or positively Having to live with painful regrets vs. having the peace of overcoming Loss of power (over self, or the internal conflict affecting an outside power) vs. gaining power (self-mastery, or the internal conflicting providing an external power)
In person vs. person conflicts, the character is (you guessed it) in conflict with another person. This is often what people think of, when they think of "conflict." If your antagonist is a person, then your protagonist will be in conflict with him or her. Usually person vs. person conflicts mean that the characters have different goals or at least different methods for obtaining a goal. In Harry Potter, Harry and Voldemort are in conflict because they want opposing outcomes and have different views of the Wizarding World. But sometimes Harry also gets in conflict with Hermione about what methods they should use to reach their goals. Most often the protagonist and antagonist will be embodying opposing belief systems, so their person vs. person conflict is an example of these two belief systems clashing and trying to claim dominance (which plays into theme). And usually, the protagonist and their ally (or allies) will clash about what is the best way to move forward in the plot. These are just rules of thumb, of course, and the person vs. person conflict can also be as brief as a character getting into a heated debate with a stranger on the street. It can come across as obvious as a fistfight or as subtle as a smirk. Many times, the conflict will be expressed through subtext. In most stories, the protagonist will have many person vs. person conflicts, with different people.
Batman fighting The Joker. Jim and Pam arguing about how to deal with Michael in The Office. Belle turning down Gaston's continual pursuits in Beauty and the Beast.
Defeating the other person physically, intellectually, or emotionally Agreeing to disagree Being defeated by the other person physically, intellectually, or emotionally Coming to a compromise One character comes to embrace the other character's perspective, so they are on the same side Going separate ways
Death (psychological, professional, or physical) vs. life Physical or emotional pain and injury vs. Physical or emotional health and safety How the outcome will affect the character's future lifestyle negatively or positively Opportunities (gained or lost) Plot goal lost or achieved How the outcome will affect loved ones or the world negatively or positively
Here, a person is in conflict with nature. This is a struggle that usually comes from the setting. It could be surviving in the wilderness after a plane crash, dealing with disease, an earthquake, starvation, or a bear. Person vs. nature conflicts show characters at the mercy of Mother Nature; this often emphasizes a lack of control. Despite his best efforts, a person may be blindsided by illness or an earthquake. Some disasters can't be prevented, only coped with. We can try to prepare, or deal with the outcome, but we often can't simply stop nature. Unlike most other types of conflict, there (arguably) isn't really anyone or anything to blame. Nature is indifferent. We can't really blame the clouds for not raining, or the ocean for the tsunami that wiped out our homes. Even if someone puts us in that situation, ultimately, it's Mother Nature that deals the blow. Without a clear entity to blame, this sometimes leads people to find someone or something else to blame, to take their hurt out on. Person vs. nature conflicts can be a great way to illustrate unfairness in the human experience. They also tend to reveal human tendencies, as characters typically find themselves in desperate situations.
In Hidalgo, Hopkins and his horse must weather a sandstorm. In Hatchett by Gary Paulsen, Brian must survive in the wilderness after a plane crash. In The Martian, Mark Watney must survive on Mars.
Armed with proper preparation (ex. having no clean water but having brought iodine) Gaining knowledge (ex. discovering how to cure a disease) Gaining experience and skill (ex. figuring out how to spear fish for food) Finding ways to properly cope with the situation (ex. going under a desk during an earthquake) Help from others, being rescued Suffering or death
Death vs. life Physical pain and suffering vs. comfort and safety How death or suffering of the character will affect other characters, the world, or plot vs. how their physical safety affects those things How lack of resources or stamina impede progress vs. having resources and stamina improve progress Loss of valuable time vs. gaining valuable time Loss of valuable resources (ex. a fire burning down a house or food becoming contaminated) vs. gaining valuable resources (ex. finding shelter or clean drinking water) Exposing others to illness or danger vs. limited or preventing exposure
A "society" in a story is any type of collective. It may be as big as a government or as small as a school club. It's a group of people who work as a unit. The character may be in conflict with a culture, tradition, or an established law. It may be a conflict with a lifestyle or a taboo. Societal conflicts are less personal than one-on-one conflicts. Often the character is pitted against ideologies that can't be overcome directly or quickly. For example, in The Hunger Games, Katniss is pitted against Panem's government--it has laws, traditions, and ideologies that she can't defeat with sheer force. These things have to be undermined or challenged through smaller actions. Other times, the collective may work more as a "person"--just multiple people joined together as one. For example, a character may need to overcome a group of bullies who all heckle him together. The fact there are multiple, makes the bullying worse, but doesn't add much more to the dynamics outside of that. The character will be different from the collective in a significant way, and the collective will usually try to get the character to bend to their will. Because the opposing force is a collective, it often feels like the odds are stacked against the character. Worth noting is that it's not unusual for a particular character to become the "face" of the society. For example, President Snow becomes the face of Panem's government, even though from the series' beginning to the series' end, the true antagonist is the society (one of the reasons I think Mockingjay is often misunderstood 😉). It's also possible to develop a society vs. society conflict in a story. It may be the protagonist is part of a collective that is going head-to-head with an opposing collective.
Katniss ultimately refusing to be a piece in the Hunger Games Lyra fighting for truth in a society that wants to keep humankind ignorant in His Dark Materials Hamilton fighting his way to the top in Hamilton
Helping the society have a revelation (epiphany) Destroying, dismantling, or punishing the collective Convincing society that it is wrong Persuading the collective to allow the character to pursue her goal A compromise with the society Educating society on a better way forward Being forced into submission or defeated by society Eventually siding with society Being exiled from the society or put to death Being persuaded by society to give up
Death (psychological, professional, or physical) vs. life Loss of identity and individuality vs. stronger sense of identity and individuality Affecting society (negatively or positively) by refusing to conform Society being corrupt vs. being enlightened Individual being corrupt vs. being enlightened Believing and perpetuating harmful ideologies and narratives vs. helpful and accurate ones Imprisonment vs. freedom Inviting danger to loved ones vs. safety for loved ones
In modern times, the person vs. god conflict often gets left off lists. It is usually combined with or even replaced by the person vs. fate conflict. But because fate conflicts don't necessarily have gods, and god conflicts don't necessarily include fate, I've decided to put them in separate categories. One may argue that the person vs. god conflict actually fits into the other categories, and I think that's fair. At the same time, it feels distinct from many conflicts, so I'm giving it its own space. In the end, just remember that these categories are meant to help us gain better discernment, which is certainly my intention. Here, a person is in conflict with a god, or even the God. It may be a person trying to outsmart or even kill a god, or it may be a person struggling to reconcile with God. In His Dark Materials, Lord Asriel is in conflict with the Authority, which is seen as God. In Princess Mononoke, several characters aim to obtain the head of a forest god in order to bring immortality to the emporer. A character may face a personal, internal conflict with God, believing God wants her to do something she does not want to do, for example. Or maybe she is angry at God. Or seeks forgiveness from God. In Les Mis, Jean Valjean hopes to be found worthy of God's mercy. Other characters may be in conflict with the concept of God. Maybe their society believes in a concept of God that the character knows isn't true. (For this reason and others, I'd argue that even an atheist character can have a person vs. god conflict.) God may seem to retaliate in the form of nature. Jonah was swallowed by a whale. With all that said, one may argue that Lord Asriel and the Authority fit into a person vs. person conflict. The forest god fits into a person vs. supernatural conflict. Jean Valjean could arguably fit into a person vs. self conflict. Fighting the concept of a god could fit in a person vs. society conflict. And being swallowed by a whale may be argued to be a nature conflict. Nonetheless, this is a category of conflict that goes far back, and I'd be remiss to leave it off. Besides, one can't help but debate if Jean Valjean's relationship with God is really a conflict with himself. I mean, if one believes in a god, and believes to be able to communicate with that god--would that even be considered a conflict with the self? In any case, I still feel person vs. god has a place.
In Mistborn by Brandon Sanderson, the antagonist is seen as a god and the key characters want to destroy him. In His Dark Materials, Lord Asriel aims to bring about the downfall of the Authority (God). In Les Mis, Jean Valjean hopes to find mercy from God.
A god is defeated The character is defeated by a god The character eventually joins the same side as God God is revealed to not actually be a god The god is persuaded by the character The character gains a better understanding of God The character ignores, dismisses, or stops believing in God
Spiritual death and damnation vs. paradise and redemption; eternal misery vs. eternal glory Physical death vs. physical life Cloudy sense of self and purpose vs. divine clarity of one's self and purpose Remaining in ignorance vs. gaining knowledge and wisdom How the outcome of the conflict affects others, society, or the world, negatively or positively Imprisonment (mental, spiritual, or physical) vs. freedom Losing meaning in life vs. finding meaning in life
I feel out of all the conflict types, this one is most often misunderstood. Traditionally, person vs. fate is seen as a part of person vs. god, but as I mentioned above, not all fate conflicts actually include gods. In fact, most of those around today, don't. Here, the character is in conflict with a destiny. Something is predetermined or foreordained and the character is struggling with that. Certainly the event can come from the will of the gods, but it doesn't have to. In fantasy, this information often comes from a prophecy. In horror, this may be a kind of curse. In Final Destination, the characters are trying to cheat their deaths--they are fated to die. It can even play into the concept of the universe having a particular order or law (perhaps dharma?), that must be upheld or fulfilled (like the Circle of Life). If you want to broaden the concept further, the "law" or destiny need not be otherworldly. For example, a man on death row arguably has a predetermined fate. This has a slightly different tone than what is traditionally placed in this category, but still fits within it, more or less. One may also broaden the category to look at things such as terminal illnesses or arranged marriages. Even in these cases, there is a sense of a "higher" power being in control (even if that power isn't otherworldly). The character may openly take action to fight against fate, or the character may have more of a personal struggle with either accepting fate or the costs of the fate. Often characters who fight against fate are punished (and the fate portrayed as inevitable), but it's possible to write a story where that is depicted positively and/or where they succeed in altering fate. With this conflict type, consider whether or not the fate is altered, whether that is a good or bad thing, and whether the character ultimately embraces or rejects fate. Are they punished or rewarded for that? Was the effort worth it? Usually person vs. fate conflicts emphasizes free will within strict limitations. While some writers choose to ultimately emphasize a lack of free will, others choose to emphasize the power of free will. Free will may alter fate, or the character may realize they have the power to choose how to face and accept an inevitable fate. Sometimes it's interesting to explore the origins of the "destiny." In Dr. Faustus, Dr. Faustus sells his soul to the devil to gain all knowledge--he only has himself to blame for his inevitable fate. Was gaining all knowledge worth an eternity in hell?
Oedipus Rex is prophesied to marry his mother and kill his father. And in his effort to keep this prophecy from happening, he fulfills it. In The Lion King, Simba is destined to be the king to fulfill the Circle of Life, but rejects that idea in the second half of the middle. In Harry Potter and the Half-blood Prince, Harry struggles with accepting the prophecy that was revealed in the previous book.
The character unknowingly brings about his fate, in his efforts to thwart it The character eventually embraces her destiny The character successfully alters fate Another character intervenes, bringing about the destined outcome Fulfilling a prophecy in an unexpected way
Death vs. life Disrupting divine order vs. upholding divine order; or chaos vs. order Lack of choices vs. power of choices Experiencing limitations vs. power and opportunities How the outcome affects society and the world, negatively and positively How the behaviors and outcome affect one's soul (ex. ultimately going to hell vs. going to heaven)
A character may be in conflict with something otherworldly. This may be magic, a ghost, a vampire, or a portal--pretty much anything speculative. This type of conflict can seem to overlap with person vs. person conflict. For example, a character may be in conflict with a werewolf. It may also seem to overlap with person vs. nature conflict, such as a character trying to heal a magical ailment. This conflict type often emphasizes a struggle with the unknown. Characters may have to learn how the supernatural functions in order to overcome the conflict. Getting the necessary information typically proves difficult because the character has few resources to turn to. Usually there is a mystery, to some degree.
Mulder and Scully taking on the paranormal in The X-Files. In The Ghostbusters, characters take on ghosts. In Stranger Things, characters must confront creatures of The Upside Down.
Defeating the supernatural element Being defeated by the supernatural element Learning to live with the supernatural element Limiting the influence of the supernatural element Making one's self inaccessible to the supernatural element
Death (psychological, professional, or physical) vs. life Physical or emotional pain and injury vs. Physical or emotional health and safety How the outcome will affect the character's future lifestyle negatively or positively Opportunities (gained or lost) Plot goal lost or achieved How the outcome will affect loved ones or the world negatively or positively Remaining in chaotic ignorance vs. gaining valuable knowledge
A character may be in a struggle with technology. Usually in this case, we think of things like AI, robots, or a computer virus. But it can be as simple as a character struggling with using social media, learning how to fly a plane, or trying to fix a car. The technology may be old (a youth who doesn't know how to use an outdated phone), modern (a character trying to fix the internet so he can meet someone during the pandemic), or advanced (anyone know how to fly this alien spaceship?).
In classic literature, there is often a theme of technology being dangerous because it enables people to "play god." Today we still have similar arguments in regards to things like cloning. A technological conflict may look at whether or not we should use technology, and if we should, how should we use it? Who gets to use it? And does it ultimately make life better for people? Or worse?
Frankenstein by Mary Shelley. In Oblivion, it is revealed that an alien artificial intelligence is working to acquire Earth's resources and destroy humanity. In Ralph Breaks the Internet, the characters must learn how to navigate and use the internet to save Sugar Rush.
Learning how to use the technology Defeating or disabling the technology Overcoming technology with other (or new) technology Overcoming technology with human heart, intellect, or physicality Being defeated by technology
Death (psychological, professional, physical, or sometimes spiritual) vs. life Loss of humanity (literally or figuratively) vs. preservation of humanity Being dependent (on technology) vs. being self-reliant Danger in exploration vs. safety in what is familiar and simple Having one's view of reality altered vs. coming to the truth about reality Improvement in life and society vs. decay in life and society The potential of the technology (negative and positive)
As you work on your stories, check to make sure you have a variety of conflicts. Obviously some types work better for certain genres than others. You probably wouldn't want to put a supernatural conflict in a romance, for example (unless of course, you are writing a paranormal romance, then definitely do that). Something important to keep in mind is that conflicts are usually most effective when they have a sense of cohesion and progression. A story that has a bunch of conflicts that aren't connected or don't move anything forward, is scarcely a story at all. Usually conflicts build in intensity, which moves the plot forward. If a conflict doesn't directly move a plotline forward, then it should usually move the character arc or the theme forward--by the impact it has on the character or the thematic topic it explores. If you need help brainstorming more specific types of conflict, check out the conflict thesaurus on Writers Helping Writers. Announcement: Hello everyone! If you are an email subscriber, you might have noticed your email looks a little different 🤔. I switched my feed services to follow.it. Follow.it also lets you change your delivery channels--for example, you can get my tips delivered to you through Telegram instead of email. They will soon have more options up, such as WhatsApp, FB Messenger, WeChat and more. (If you want to change your delivery method for my tips, go here, and scroll down to "Output Channels.") If you aren't already subscribed, what are you waiting for? 😉 When you subscribe, you get a free copy of my booklet, Core Principles of Crafting Protagonists, so sign up here. Happy writing!
