what does conflict mean in an essay

Conflict Definition

In literature, conflict is a literary element that involves a struggle between two opposing forces, usually a protagonist and an antagonist .

Internal Conflict

• Mind Vs. Body: One type of internal conflict that occurs in stories is mind versus body. It occurs when the protagonist or the main character fights against his bodily addiction such as in the case of some drug addict. Some may fight against the religious belief that has proved wrong or against political dogmas such as in Animal Farm.
• Mind Vs. Mind: The second internal conflict is mind versus mind which is the mental thinking conflict. It occurs when a person has desires but he also has to fulfill his responsibilities. He has to perform his duty as well as do his responsibility or commit suicide and die or struggle for his survival. This is called mind versus mind conflict as it happens in Frankenstein by Mary Shelley .
• Mind Vs. Reality: Some literary works present worlds that do not match with reality such as the dystopian world of The Handmaid’s Tale created by Margret Atwood, the world of magical realism created by Garcia Marquez, or the world created by the superiority complex or right versus just people. This is called mind versus reality conflict.
• External Conflict
• Conflict With Nature: It happens when a man comes into conflict with nature. It happens in Hardy’s novels as his protagonist comes into conflict with nature and loses such. Another example is Santiago of Hemingway in the Old Man and the Sea .
• Conflict With Another Person: This conflict happens with the thinking and subsequent actions of the people that do not match and create a conflict between them. Happens in Tess of D’Urberville by Thomas Hardy that she has a conflict with Alec and then with Angel.
• Conflict With Society: It happens with the main protagonist comes into conflict with the social setup, norms, traditions, and conventions. It happens in Tess of D’Urberville of Thomas Hardy that she breaks the social norms of those times.

Core Conflict

As a novel or a play has several characters, events, and situations, there are numerous conflicts at play. They also move side by side and keep the readers and audiences engaged. However, there is only one principal character or protagonist who comes into conflict with the outside world, society, or nature and creates maximum tension and suspense . This is called the core conflict whose resolution is central to the world of literary piece such as Michael Henchard in The Mayor of Casterbridge by Thomas Hardy.

Character Conflict

This conflict occurs only due to the characters and their interactions. When one character does not find it easy to sync his interests with that of the others and faces obstacles, this creates a conflict between the characters. This is called character conflict. It happens in The Kite Runner by Khalid Hosseini.

Conflict and Plot

Conflict is one of the most important elements of the plot . As the plot is the larger world, conflict is its critical part. If there is no conflict, it means the plot has lost a critical component and may not have a good storyline. Missing conflict means missing the resolution. So, the readers would not be able to hold any interest in the plot or storyline having no conflict.

Elements of Conflict

• Misunderstandings: Conflict occurs due to misunderstanding between two parties or characters or man and nature, man and another person, or even man and society.
• Differences in Values and Beliefs: This entails both external as well as internal conflicts within a person or even between different persons. However, the major issues occur over values and beliefs.
• Differences in Interest: This occurs due to different interests and clashes between those interests. The characters come into conflict due to this clash.
• Interpersonal Differences: Interpersonal differences also cause a conflict between characters.
• Feelings and Emotions: This conflict occurs due to the differences between the feelings and emotions of different characters.

Function of External Conflict in Literature

The external conflict is mostly written as an outside narrative and has nothing to do with the internal conflict. It is relations of the characters that seriously impact the entire situation in the narrative. It acts as the foreign agent that impacts the protagonists, their thinking, their relations, and ultimately the results of their efforts. In case it comes into collusion with the antagonists, it hinders the efforts of the protagonists to come out of the existing conflicts or adverse situations.

Difference Between Conflict and Tension in Literature

Conflict is a serious tense situation between characters due to some dispute, squabble, or controversy. However, tension does not simply mean that it is due to some dispute. It is just an impending sense of something ominous that is about to happen but may not happen even until the end. It could be the fear of divorce, the sense of disclosure or some secret that may cause a rift among the characters, or even the discovery of something that continue to haunt the characters.

What does Conflict Mean in a Story?

Conflict in a story means that the characters are interacting with each other and one another and that they have good or bad relations to build their lives on. The existence of a conflict in the story means the progress of the story. It takes the story to the next level as it prompts the characters to do something and not sit idle. Therefore, conflict is as important in the story as characters, situations, and settings .

What is the Central Conflict or Core Conflict?

A story or a narrative could have several conflicts in case there are several characters or events. However, there is the main conflict that runs throughout the story until the end. This is called the central conflict or the core conflict upon which the success of the story hinges. Besides this conflict, there could be several small or minor conflicts going on between secondary characters, foils , or minor characters.

Examples of Conflict in Literature

Example #1: hamlet by william shakespeare.

Hamlet ’s internal conflict is the main driver in William Shakespeare ’s play Hamlet .”  It decides his tragic downfall. He reveals his state of mind in the following lines from Act 3, Scene 1 of the play:

“To be, or not to be – that is the question: Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune Or to take arms against a sea of troubles And by opposing end them. To die, to sleep…”

The conflict here is that Hamlet wants to kill his father’s murderer, Claudius, but he also looks for proof to justify his action. This ultimately ruins his life and the lives of his loved ones. Due to his internal conflict, Hamlet spoils his relationship with his mother and sends Ophelia (Hamlet’s love interest) into such a state of despair that she commits suicide.

Hamlet ’s indecisiveness almost got everyone killed at the end of the play. The resolution came when he killed Claudius by assuming fake madness so that he would not be asked for any justification. In the same play, we find Hamlet engaged in an external conflict with his uncle Claudius.

Example #2: Doctor Faustus by Christopher Marlowe

Another example of an internal conflict is found in the character of Doctor Faustus in Marlowe’s Doctor Faustus . Faustus has an ambitious nature. In spite of being a respected scholar, he sold his soul to Lucifer by signing a contract with his blood, in order to achieve ultimate power and limitless pleasure in this world. He learns the art of black magic and defies Christianity.

After the aforementioned action, we see Faustus suffering from an internal conflict where he thinks honestly about repenting, acting upon the advice of “the good angel,” but “the bad angel” or the evil inside him distracts him by saying it is all too late. In conclusion , the resolution comes when devils take his soul away to Hell, and he suffers eternal damnation because of his over-ambition.

Example #3: The Lord of the Flies by William Golding

The most straightforward type of external conflict is when a character in a story struggles against another character physically. In William Golding ’s novel The Lord of the Flies , for example, Ralph (the leader of the “good guys”) steadily comes into conflict with Jack – a bully who later forms a “tribe” of hunters. Jack and his tribe give in to their savage instinct and make attempts to hunt or kill the civilized batch of boys led by Ralph.

Example #4: To Kill a Mockingbird by Harper Lee

Another kind of external conflict sets a character against the evil that dominates society. In this case, a character may confront a dominant group with opposing priorities. For instance, in Harper Lee ’s novel To Kill a Mockingbird , an honest lawyer, Atticus Finch, goes up against the racist society in which he lives. Atticus has the courage to defend a black man, Tom Robinson, who has been falsely accused of rape. Though Atticus has the support of a few like-minded people, most of the townspeople express their disapproval of his defense of a black man.

Function of Conflict

Both internal and external conflicts are essential elements of a storyline. It is essential for a writer to introduce and develop them, whether internal, external, or both, in his storyline in order to achieve the story’s goal. Resolution of the conflict entertains the readers.

Synonyms of Conflict

Conflict has its own specifics and is used as a common word. Some of the words close in meaning are dispute, quarrel, squabble, disagreement, dissension, discord, friction, strife, antagonism, antipathy, ill will, bad blood, tussle, exchange, wrangle, affray, fracas, feud, and schism.

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• Hamlet Act-I, Scene-I Study Guide
• 6 Types of Conflicts in Literature With Examples

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There is no character arc , deeper meaning, or satisfying ending without conflict in a story. Everything we love about fiction hinges on a protagonist wanting something that he or she cannot have, and doesn’t know how to get. If you’re looking to tell moving, relatable stories yourself, you must learn how to create conflict in a story.

Everything we love about fiction hinges on a protagonist wanting something that he or she doesn’t know how to get.

Think of the most memorable protagonists in fiction, or your favorite fictional character. Is there a story if they don’t have conflict? Sometimes, there’s a big showdown with an antagonist ( Harry Potter , Lord of the Rings , The Chronicles of Narnia , etc.). Or, especially in literary fiction , the protagonist might need to overcome their own deficits to grow as a person ( Jane Eyre , Things Fall Apart , Giovanni’s Room , etc.). Whether the conflict in a story is external or internal, it drives the story forward—otherwise, the protagonist would have no story for anyone to write about.

Although the story with no conflict exists (and we’ll look at examples!), most works of fiction require conflict to succeed. So, let’s examine conflict in literature. We’ll examine the different types of conflict in a story, providing examples of each and, for writers, offering advice on how to create conflict in a story.

What is conflict in a story? First, let’s define this crucial element of storytelling . 

What is Conflict in a Story?: Contents

What is external conflict in a story?

What is internal conflict in a story, examples of conflict in a story, the story with no conflict, how to create conflict in a story, what is conflict in a story.

At its most basic, conflict is the clash of opposing forces against a character’s own pursuit of a goal. The character must overcome these opposing forces to achieve the goal. These opposing forces might take on numerous shapes, and might even exist solely within the character’s own psyche.

What is conflict in a story: the clash of opposing forces against a character’s own pursuit of a goal.

Most stories begin with a basic premise: a character wants or needs something; there are certain obstacles standing in the way of that character’s goal(s); that character does not know how to overcome those obstacles. These are the elements of conflict in a story, because that character repeatedly encounters different obstacles as they try to achieve their goals, which culminates in the story’s plot .

For example, consider the novel Beloved by Toni Morrison, which has both internal and external conflict. Sethe, the protagonist, miraculously reconnects with her daughter Beloved, whom Sethe killed so that she would not endure the horrors of American slavery. Beloved soon becomes the antagonist of the story, feeding on all of Sethe’s attention and starving Sethe of her family, her health, and her livelihood.

Sethe’s external conflict is with Beloved, who drains Sethe of the life she’s built for herself. Sethe also has to contend with the horrors and aftermath of slavery. Internally, Sethe must overcome her guilt, shame, and self-hatred regarding the sacrifices she had to make for her family, and come to accept the loving embrace of the Black community that she forsakes for Beloved.

Before we move on to more examples of conflict in a story, let’s dive deeper into external and internal conflict.

External conflict refers to any conflict that a character has with another person, place, or thing. These are the conflicts Man Vs. Man, Man Vs. Society, or Man Vs. Nature, which are also common themes in literature .

External conflict in a story: Any conflict that a character has with another person, place, or thing.

If a story has external conflict, then it must also have an antagonist. Even if the antagonist is not another person, it does present some sort of obstacle to the protagonist’s goals, and its interests directly counter the interests of the protagonist. It is an actively opposing force.

Internal conflict refers to the challenges that a character presents themselves. This is the conflict Man Vs. Self.

Internal conflict in a story: The challenges that a character presents themselves.

Often, the protagonist must overcome certain flaws to achieve what they want. Those flaws might be related to their personality—egotism or narcissism, for example. They might also have to overcome certain flaws in their way of thinking, such as self-hatred, insecurity, or fear of others. These flaws usually sit in the character’s blindspot, and their continued inability to address those flaws is what allows the conflict in a story to get worse and worse until the inevitable, explosive climax.

To further understand the relationship between conflict and plot, take a look at our article on Freytag’s Pyramid . For now, let’s look at some examples of conflict in a story.

The following examples of conflict in a story come from published works of literature.

“The Yellow Wallpaper” by Charlotte Perkins Gilman

Read it here.

Main character: The narrator and protagonist is unnamed, though the ending suggests her name might be Jane.

What she wants: Her freedom and health. The narrator is taken to a colonial mansion for the summer, where she is supposed to rest and recuperate from her illness. She wants to get better, but she also wants to make her own decisions and to write, both of which her husband forbids her to do.

External conflict: The narrator’s husband, John, does not take her wishes seriously. He is often patronizing, and assumes her sickness is simply a case of “temporary nervous depression.” John’s treatment of the narrator, and her refusal to be tied down, makes this story an early example of modern feminist literature.

The yellow wallpaper is also a source of external conflict, as the narrator finds it both hideous and mesmerizing, and it has a great impact on her mental health.

Internal conflict: The narrator does not know what’s best for her, on account of the many mixed messages she receives from her husband. She also fights against herself to be drawn into the yellow wallpaper: at first she finds it hideous, but the longer she stares, the harder it is to resist some weird magnetic pull in its design. This continues on until she believes that a woman is hiding in the wallpaper, trying to get out, only furthering her internal conflict, as she doesn’t know whether to help the woman or to question her own sanity.

Analysis: These conflicts drive the story forward: the narrator rejects the help of her husband and leans into her own mystical relationship with the wallpaper. At the end of the story, she thinks of herself as the trapped woman newly freed from her imprisonment. On the surface, it seems like the narrator has succumbed to her psychosis; but, considering how neglected she was by the people around her, it’s better to say that the narrator was forced into this psychosis, and could only find freedom in insanity.

“Sticks” by George Saunders

Main character: The unnamed narrator’s unnamed father.

What he wants: This is left open to interpretation, and masterfully so. Saunders presents a complex character in alarmingly few words. What we know about the narrator’s father is that he dresses up a pole in the yard based on his reactions to events. We also know he is an austere, ascetic person, who restrains himself and others from pleasure and is relentlessly economical. Could the pole represent his need for self-expression? Perhaps what he wants, more than anything else, is to be heard and understood—but he’s never learned how to accomplish this.

External conflict: While not explicitly stated, the story suggests that the father’s austerity gets in the way of his relationships. The narrator “found the seeds of meanness” from his own childhood within himself; before the father dies, he adorns the pole with the word “FORGIVE?” It seems as though the father’s behavior pushed away everyone he loves, and came to regret it after his wife had passed.

Internal conflict: This is also not explicitly stated, but the father has two competing behaviors. The narrator describes his father as being a mean, meticulous person; clearly, he seeks to control his household. But the father also has a need for self-expression, and to be loved. While this story does not have an antagonist, the father may be the antagonist of his own life.

Analysis: The narrator’s father is unable to express himself or show kindness. The reasons for this are never established, though much of these personality traits can be mapped to masculinity. Regardless, the father is conflicted between his need for control and his need for companionship. When his wife dies and he has no one around, his pleas grow desperate, but he can never express those pleas verbally, just adorn his pole in increasingly frantic attempts at human connection. The narrator’s reaction is one of indifference, because he only tells us that his father died and they sold the house, erasing any trace of the father’s mean-spirited life.

“The Veldt” by Ray Bradbury

Main characters: George and Lydia Hadley, parents to Wendy and Peter. They live in a Happylife Home, a house which automatically caters to their every need and comfort. The home includes a nursery, where the children can dream up anything they wish and experience it as though they were there—for example, the African Veldt.

What they want: George and Lydia want to feel more secure in their home. They are beginning to feel uneasy with every need automatically taken care of. They also worry about what the nursery might be doing to their children. Things are the most stable they have ever been for the Hadleys, but something still feels unstable.

External conflict: The Hadley parents and kids don’t get along. The kids have been spoiled with their every need being met instantly, and they’ve become very attached to the nursery—so much so, that the veldtland they spend so much time in makes the parents nervous. Additionally, the children do not like that the parents don’t give them everything they desire, so they’ve begun to view the house more like a parent than the parents themselves. The conflict reaches a boiling point when George decides to shut everything off.

Internal conflict: The Hadleys are at odds over how to run their own household. Are their kids spoiled because everything has been handed to them? Could it be that a life involving work and discomfort is more meaningful than a life in which everything is handed to you?

Analysis: The nursery’s animated veldtland drives the conflict of this story forward. The parents fear that the veldtland represents some sort of dark, psychological shift in the children, and what’s more, the land itself terrifies them. The children, it turns out, have indeed felt mothered by the house itself, to the point where they want to reject their own parents. Each character’s reaction to the nursery builds a slow-boiling suspense that results in a painful moment of recognition ( anagnorisis ): the lions of the veldt are feasting on animations of the parents’ bodies. And the parents themselves are next.

Can a story exist without conflict? It depends on who you ask. Most writers will agree that this is impossible: a story cannot exist without conflict, because a story exists to chart how people react to conflicts. The story with no conflict seems self-contradictory.

Indeed, most novels and short stories have tension and suspense. Otherwise, what else will pull the reader forward? Conflict in a story makes the story possible.

Nonetheless, there are at least two exceptions to this rule.

The first exception is microfiction and flash fiction . Now, many pieces of flash and micro do still have conflict. But, with so few words, and in such experimental genres, there are instances in which micro stories don’t have clearly defined internal and external conflict.

For example, read this micro piece: “Between the Earth and Sun” by Kalyn RoseAnne . Technically, there is conflict, but it occurs before the story begins. The narrator clearly has an internal conflict regarding their relationship to their hometown, but the story describes what happens after this has been resolved. In this instance, conflict isn’t driving the story forward, it’s the backstory—though, of course, it still makes the story possible.

The other example is the Eastern story structure Kishōtenketsu (起承転結). Kishōtenketsu is a story structure that does not necessarily rely on conflict and resolution. It is composed of four acts, each of which are embedded in the word Kishōtenketsu:

• Ki: Introduction
• Shō: Development
• Ketsu: Conclusion

The Ki is where we learn who the characters are. The Shō deepens our relationship to the characters: where they live, where they come from, what their dreams are, how we can relate to them.

The Ten complicates the plot. Now, this complication, or twist, might involve some degree of conflict, but it often relies on external circumstances that the characters simply react and adjust to. For example, a perfectly acceptable Ten would be that a man’s village is suddenly attacked, and he has to hide with his wife in a forest. Technically, this is conflict, but the characters are not struggling with anything internally, nor are they confronting their external situation.

The Ketsu shows us how the characters react to the Ten, usually involving some kind of growth and departure from the characters we met in the Ki and Shō.

This story structure can be found in East Asian storytelling, particularly stories from Japan, China, and Korea. Some Studio Ghibli movies exemplify Kishōtenketsu, such as My Neighbor Totoro .

Neither of these examples are perfect representations of the story with no conflict. A character is always reacting to a less-than-perfect situation. But, these examples showcase what a story can be when conflict is not the engine driving the story forward.

A great story builds conflict and tension in every line. Characters should always be pursuing something they desire and can’t have, whether because of external circumstances or their own internal flaws. As you write and edit your fiction, keep these 5 tips in mind for creating conflict in a story.

• Focus on motivation. What drives each character? Why do they get out of bed each morning? What goals do they pursue? Even small, simple goals, like “wanting a vase” or “being thirsty,” can lead to surprising conflicts.
• Think about fatal flaws. Most characters have some internal problem that prevents them from achieving their goals ( hamartia ). This problem sits in the character’s blindspot: they don’t realize they have this problem until it’s (almost) too late. What flaw does your protagonist have, and why can’t they acknowledge it?
• Link flaws to contexts. Often, a character’s flaws are the result of their upbringing and sociopolitical context. The narrator in “The Yellow Wallpaper,” for example, cannot advocate for herself because of society’s sexism. Considering context adds more depth to each character.
• Let your characters make mistakes. Characters should not be perfect, and an author rarely agrees with every decision a character makes. A character’s fatal flaw should force them to make bad decisions. These bad decisions build tension and bring us towards the climax.
• Create relationships between internal and external conflict. Internal and external conflict are usually related to one another. In “Sticks,” for example, the narrator’s father is an unkind, miserly control freak (internal) who cannot communicate his feelings (internal, fatal flaw) and thus pushes away everyone he loves (external).

Tell Compelling Stories at Writers.com

The conflict in a story makes that story compelling to the audience. Write complex, well-developed conflicts at Writers.com. Our instructors have the tools to sharpen your prose, flesh out your characters, and make your story immersive—even if you try to write the story with no conflict.

Sean Glatch

I like your notes and you elaborate things very much

[…] Glatch, S. (2022, July 5). What is conflict in a story? definition and examples. Writers.com. https://writers.com/what-is-conflict-in-a-story […]

Conflict in a story is like the spicy ingredient that makes it interesting. It’s when characters face problems or challenges that they need to overcome. For example, imagine a story about a superhero trying to save the city from a villain. The conflict is the battle between good and evil, which keeps readers on the edge of their seats, wondering what will happen next. Conflict adds excitement and suspense to the story, making it more engaging and enjoyable.

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What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict

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W e all know that conflict is needed to keep viewers engaged, to create an emotional response, and to ultimately, push the story forward. Without conflict in a story, the film, show, or novel, may seem a bit, well, boring. It’s also true that conflict can be defined by all of the “types” that exist — internal, external, people vs people, people vs society, etc. And while all of those things are helpful, it’s not a fully developed definition. This article takes a macro perspective, answering what is conflict in a story by highlighting why we need it in the first place. We’ll break down a video to drive this point home.

Let’s jump in and unpack some of this so you can approach writing conflict in a meaningful and purposeful way.

Conflict in Any Medium

Defining conflict in any story.

Conflict is a necessary element in any story. Before we dive deeper into the purpose of conflict, here’s the standard definition of conflict, regardless of the medium you choose to express it.

CONFLICT DEFINITION

What is conflict in a story.

Conflict in a story is a struggle between opposing forces. Characters must act to confront those forces and there is where conflict is born. If there is nothing to overcome, there is no story. Conflict in a story creates and drives the plot forward. 

External conflict refers to the obstacles a character faces in the external world. Internal conflict refers to a character's internal or emotional obstacles. Moral or philosophical conflicts are created between a character’s worldview or belief system and the world around them.

It’s critical to remember that viewing conflict only in terms of external and internal is a bit simplistic. Properly defining conflict in a story includes its relationship to philosophical or moral conflict as well.

WHY IS CONFLICT IMPORTANT IN STORIES:

• It creates and drives the plot
• It reveals opposing beliefs and truths about life
• It entertains by creating relatable contexts in emotional, dangerous, or exciting ways

Tyler Mowery's video essay lays out not just what conflict is, but why it matters. He goes into detail using examples from such iconic films as Sicario , The Lord of the Rings , and Snowpiercer . 

Tyler Mowery's,The Purpose of Conflict

The deeper conflict is layered beyond "internal" and "external," the more satisfying your storytelling can be. Conflict should be meaningful for the characters in the story if it is going to resonate with the audience. Let’s take a dive into the essay’s key point — a conflict’s purpose.

Why is Conflict Important in Stories

What is the purpose of conflict.

To fully understand conflict, we have to define the purpose of conflict in a story. And we can’t really know the purpose of conflict until we know the purpose of a story. 

What’s the purpose of a story? 

The way you personally choose to live your life comes from your belief system. We all know that. Stories explore these belief systems while conflicts help challenge them. We watch or read stories because we want to see characters encounter the same moral and philosophical obstacles that we face in our own lives. 

The purpose of conflict

Mowery discusses how stories exemplify all of the possible ways to live, often raising questions about how to live through different characters’ viewpoints. If the writer has something valuable to say about life or how to live it, conflict is a great tool to show these competing viewpoints. 

Conflict introduces opposing belief systems, wants, or goals not just to entertain the viewer, but to show the character another worldview. A character’s goals and actions are dictated by their personal beliefs and what they want. If the character received everything they wanted from the beginning, there wouldn’t be a story. 

So, when a character overcomes enough obstacles that challenge their belief system, they typically come out the other side, changed. This change (or inability to change) demonstrates the theme or resolves the philosophical conflict. Mowery drives this point home. Not every filmmaker or screenwriter labels it as a  philosophical conflict,  and you can call it whatever you want. But I like this label because it reminds us that conflict is always about opposing belief systems - the real conflict is broad and philosophical, but it is up to us to externalize it in specific and external ways if we want to use film as our medium.  So if you're struggling with the theme of the story, or what you're really trying to say, odds are you haven't determined your philosophical conflict.

Entertainment value

Yes, your stories and conflicts do have to be entertaining. There’s no denying that. People go to the movies to be entertained and that’s just a fact. But this is not the main purpose of story or conflict. 

Even the most entertaining movies say something about life, or at the very least, the characters’ opposing beliefs are what engages the audience. So, in your storytelling, think about what each character believes and how a challenge to those beliefs will create meaningful and engaging conflict. The entertainment value becomes deeper and richer when the audience is able to walk away with a new perspective on their own philosophical conflicts. 

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Internal and external conflict

Now that you know the purpose of conflict, and a bit more about how moral conflict works, how might you externalize it? It's time to learn how to use internal struggles and external obstacles to create the most compelling story possible. 

Up Next: Internal and external conflict →

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How to Write an Essay on Conflict

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In both real life and in fiction, conflict describes an enduring struggle between two opposing forces. Whether you're watching a cartoon or reading a serious literary tome, conflict is a key component of plot. Writing an essay on conflict requires a focus, clarity, and an understanding of the different types of conflict presented in a story.

Identify the Type of Conflict

While most people think of conflict as a fight between two characters, it can be categorized as internal or external or both. Conflict can present itself in four primary ways: externally, as man versus man, man versus society, or man versus nature and internally, as man versus self, as exemplified by the tragic struggle of Shakespeare’s Hamlet trying to avenge his father’s murder.

Find Supporting Evidence

Whether you’re analyzing a piece of literature or a clash between two nations, you’ll first need to identity the two opposing forces that comprise your central argument, and then find evidence to support your claim. For example, if your central conflict is man versus nature – think Sebastian Junger’s “The Perfect Storm” – you’ll want to find specific examples of where the sea rises up against the sailors. As with any analytical essay, analyzing conflicts requires you to look for specific quotes, phrases or parts of dialogue that reinforce your position.

Draft Your Thesis

Once you've figured out your protagonist and antagonist and the type of conflict to address in your essay, narrow your focus and write a concise thesis statement that states the central conflict you plan to address. For example, If you’re analyzing “man versus society” in your essay, such as when Atticus Finch fights against a racist society in “To Kill a Mockingbird,” you could state, "In 'To Kill a Mockingbird,' Harper Lee uses Atticus Finch’s defense of Tom Robinson to both illustrate and combat the rampant racism that has infected his Southern town." Your thesis statement will provide you with a road map for the rest of your paper and will help you decide upon the main points of your paper. Your thesis should be the very last sentence in your introduction.

Start Writing

Once you’ve found your examples and written your thesis, write your first draft. Remember to start your essay with a “hook” – a question, a quote, or a statistic, for example that will introduce the conflict you’ll be analyzing. Start each body paragraph with a topic sentence that states a main point, and then support that point with three or four of your examples from your initial research. Repeat this process for each remaining body paragraph. Within the body of the paper, address whether the conflict was resolved, and how. In your conclusion, summarize your main points and restate -- but don’t repeat verbatim -- your thesis.

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7 Types of Conflict in Literature: How to Use Them (with Examples)

Gina Edwards

“Nothing moves forward in a story except through conflict.”

This is what Robert McKee, the author of Story: Substance, Structure, Style, and the Principles of Screenwriting , calls the Law of Conflict, and storytelling is governed by it.

The finer details like story setting, character, and plot events all give the reader context and understanding, but conflict , according to McKee, is the “soul” of story. Every kind of story, every genre – novel, short story, science fiction , romance, mystery, historical , young adult , etc. – requires it.

In her book Writing Fiction , Janet Burroway says that, in literature, “only trouble is interesting.” It’s a bit ironic that in real life, we resist trouble; we shy away from conflict. Yet readers crave it in fiction.

First-time authors often find the idea of putting their characters into conflict an upsetting one. Just as they want to avoid conflict in their own lives, they don’t want to place their characters into uncomfortable, confrontational situations. They’ll focus on eloquent setting description or complex character development but then give the main character no conflict to resolve. Don’t make that mistake.

Why Conflict Is Key

7 types of conflict in fiction, how to create conflict in your novel, layered conflict makes compelling fiction.

Quite simply, conflict keeps your story interesting. Conflict is opposition – either internal or external (more on that below). Conflict is what comes from the challenges your protagonist must solve or resolve on the way to achieving his/her/their goal. It offers a teasing carrot of uncertainty about whether your protagonist will achieve that goal, keeping your readers engaged and turning pages to discover whether (or not) the conflict is resolved.

And that’s what every author wants, right? To carry the reader all the way to THE END?

Without conflict, your main character is simply experiencing a series of largely uninteresting slice-of-life moments. Without conflict, there is no story.

There are two basic kinds of conflict: external and internal, which have been further categorized and codified in many different ways over time. Here are seven different types to consider.

External Conflicts

External conflict pits the character against some exterior force or world-view and happens outside the character’s body. Five of the seven types of conflicts are of the external kind.

1. Person vs. Person

Also called man vs. man and protagonist vs. antagonist , this is the most common type of external conflict. It is clear and universally understood as a good vs. evil story in which an unambiguous challenger opposes the main character.

The heart of this type of story involves two characters with opposing outlooks, opinions, or goals. The story will become richer when both characters believe themselves to be right or when there is no clear right or wrong between their differences.

• In The Hunger Games , Katniss Everdeen must go up against other contestants in order to survive – her vs. them
• In The Wizard of Oz , Dorothy faces off against the Wicked Witch
• Murder mysteries with the investigator vs. murderer also are person vs. person stories

2. Person vs. Nature

This type of conflict counters a character against some force of nature, such as an animal or the weather.

• A classic example is Ernest Hemingway’s Old Man and the Sea
• In Life of Pi , the protagonist must face a tiger trapped in the boat with him
• The drought is a formidable opposition in John Steinbeck’s Grapes of Wrath , as is the setting in Cormac McCarthy’s The Road (read more about the use of setting here )

3. Person vs. Society

When a novel sets a character against a tradition, an institution, a law, or some other societal construct, it is a Person vs. Society story.

• Atticus Finch opposed his racist community in Harper Lee’s To Kill a Mockingbird
• Wilbur fights for his survival against a society that eats pigs in Charlotte’s Web
• In Margaret Atwood’s The Handmaid’s Tale , the society treats women as property of the state; Atwood makes the story even more interesting by layering in environmental disasters (Person vs. Nature) to intensify the conflict

4. Person vs. Technology

When science moves beyond human control, conflicts of Person vs. Technology develop. Stories in this conflict type include:

• 2001: A Space Odyssey
• Mary Shelley’s Frankenstein

5. Person vs. Supernatural

Vampires, werewolves, aliens, and ghosts – any typically unbelievable, supernatural, or inexplicable phenomena – provide Person vs. Supernatural conflicts. Examples of such stories include:

• The Shining , by Stephen King
• The Haunting of Hill House , by Shirley Jackson
• The War of the Worlds , by H.G. Wells
• The Exorcist
• Jeff Vandermeer’s Southern Reach series
• Almost anything by Edgar Allan Poe

Internal Conflicts

The two remaining types of conflicts are internal – ones that happen inside the character’s mind or heart. When your main character has an inner turmoil that’s causing some emotional pain, it increases the tension of the story.

6. Person vs. Self

A character battling inner demons, one who has an inner moral conflict (think Hamlet ), or is simply striving to become a better person is in a Person vs. Self conflict.

• Katniss Everdeen in The Hunger Games (again!) must reconcile her need to survive in the battle arena with her desire not to kill another human being
• Daniel Scott Keyes's short story Flowers for Algernon has a main character struggling with losing his intelligence to a congenital mental disability, with the focus on the character’s feelings about his circumstances: the conflict between his intellect and emotion are central

7. Person vs. Destiny (Fate/Luck/God)

This is an ambiguous conflict type. Sometimes aspects of it get split up and parsed out among the other categories. For example, since accepting fate can be seen as an inner personal struggle, some define it as Person vs. Self instead. Or some might reframe Person vs. God as being person against religion and, therefore, would put it in the external conflict type of Person vs. Society. The categories don’t really matter as long as you understand the concept.

Examples of this conflict type include Star Wars , The Odyssey , and Lord of the Rings .

• Although Star Wars contains plenty of external conflicts, a major part of the storyline is Luke’s destiny to become a Jedi Master
• In The Odyssey , Odysseus encounters all sorts of mystical creatures
• Fate has made Frodo the ring-bearer in Lord of the Rings

When a character has a want or a goal and encounters some obstacle, the result is a conflict. The obstacle must be faced by a character readers care about. Additionally, the obstacle must oppose a want or a goal that’s meaningful to that character. The result? Conflict.

Conflict can vary in degree or intensity, but every conflict must have several key characteristics.

• The conflict must be clear, specific, and relevant to the character; it should not be an abstract or trivial problem – either to the character or to the reader
• It must exist within the character’s realm, not separate or remote from their world
• The conflict must not be overcome too easily
• Finally, the conflict must happen to a character(s) the reader cares about (not necessarily “likes,” but has some compassion for)

In summary, conflict results when a compassion-worthy character who wants something intensely encounters a significant obstacle. Add in relevant action and you’ll have a story.

Every novel needs a major conflict. More complex stories have multiple conflicts, as noted above for Atwood’s The Handmaid’s Tale , which has both Person vs. Society and Person vs. Nature conflicts. Furthermore, a story that contains external conflict can be made more complex, layered, and interesting by including characters who also have inner conflict (see The Hunger Games in the examples above).

James Scott Bell, in The Art of War for Writers , makes this distinction between inner conflict and inner struggle:

An inner conflict is plot-centric; it is an internal obstacle either triggered by or somehow directly connected to the story – the plot. Whereas inner struggle is something that plays against the character’s strengths; it’s something the character brings to the plot, usually from her past, either long ago or recent past (but before the first page). The plot will put the protagonist in situations where she has to deal with this inner struggle, and she’ll carry that struggle with her throughout the story. If the character is in a series, it will run throughout the book series.

To illustrate, let’s say you want your female main character to be assertive . Two qualities that might battle against assertiveness are shyness and indecision . Then consider what in the protagonist’s background could be a reason for her struggle between assertiveness and yet being shy or indecisive . Maybe someone important in her life told her she’d never amount to anything. Maybe she had a hard-scrabble, poor childhood she desperately wanted to get out of, but as a child she saw too many adults around her fail in every attempt to do so themselves. You get the idea?

Pulitzer Prize-winning author Robert Olen Butler says inner conflict is a defining mark of a literary work. A book might also possess characteristics of a particular genre, but inner conflict can give a novel a sense of being the literary kind.

Whether or not you’re striving for a literary work, if you use two or more of the seven types of conflict identified above, making sure at least one is internal, your writing will be compelling.

How do you feel about using conflict in your writing? Let us know in the comments!

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Conflict in Literature

• M.Ed., Education Administration, University of Georgia
• B.A., History, Armstrong State University

What makes a book or movie exciting? What makes you want to keep reading to find out what happens or stay until the end of the movie? Conflict. Yes, conflict. It is a necessary element of any story, driving the narrative forward and compelling the reader to stay up all night reading in hopes of some sort of closure. Most stories are written to have characters, a setting and a plot, but what sets apart a truly great story from the one that might not finish reading is conflict. 

Basically we can define conflict as a struggle between opposing forces - two characters, a character and nature, or even an internal struggle - conflict provides a level of angst into a story that engages the reader and makes him or her invested in finding out what happens. So how do you best create conflict? 

First, you need to understand the different types of conflict, which can essentially be broken down into two categories: internal and external conflict. An internal conflict tends to be one in which the main character struggles with himself, such as a decision he needs to make or a weakness he has to overcome. An external conflict is one in which the character faces a challenge with an external force, like another character, an act of nature, or even society. 

From there, we can break down conflict into seven different examples (though some say there are only four at most). Most stories focus on one particular conflict, but it's also possible that a story can contain more than one. 

The most common kinds of conflict are:

• Man versus Self (internal)
• Man versus Nature (external)
• Man versus Man (external)
• Man versus Society (external)

A further breakdown would include:

• Man versus Technology (external)
• Man versus God or Fate (external)
• Man versus Supernatural (external)

Man versus Self 

This type of conflict   occurs when a character struggles with an internal issue. The conflict can be an identity crisis, mental disorder, moral dilemma, or simply choosing a path in life. Examples of man versus self can be found in the novel, "Requiem for a Dream," which discusses the internal struggles with addiction.

Man versus Man

When you have both a protagonist (good guy) and antagonist (bad guy) at odds, you have the man versus man conflict. Which character is which may not always be evident, but in this version of the conflict, there are two people, or groups of people, that have goals or intentions that conflict with each other. The resolution comes when one overcomes the obstacle created by the other. In the book "Alice's Adventures in Wonderland," written by Lewis Carroll , our protagonist, Alice, is faced with numerous other characters that she must face off with as part of her journey. 

Man versus Nature

Natural disasters, weather, animals, and even just the earth itself can create this type of conflict for a character. "The Revenant" is a good example of this conflict. Although revenge, a more man versus man type of conflict, is a driving force, the majority of the narrative centers around Hugh Glass’s journey across hundreds of miles after being attack by a bear and enduring extreme conditions. 

Man versus Society

This is the sort of conflict you see in books that have a character at odds against the culture or government in which they live. Books like "The Hunger Games" demonstrate the way a character is presented with the problem of accepting or enduring what is considered a norm of that society but in conflict with the protagonist’s moral values. 

Man versus Technology

When a character is confronted with the consequences of the machines and/or artificial intelligence created by man, you have the man versus technology conflict. This is a common element used in science fiction writing. Isaac Asimov’s "I, Robot" is a classic example of this, with robots and artificial intelligence surpassing the control of man. 

Man versus God or Fate

This type of conflict can be a bit more difficult to differentiate from man versus society or man, but it is usually dependent upon an outside force directing the path of a character. In the Harry Potter series, Harry’s destiny has been foretold by a prophecy. He spends his adolescence struggling to come to terms with the responsibility thrust upon him from infancy. 

Man versus Supernatural

One can describe this as the conflict between a character and some unnatural force or being. "The Last Days of Jack Sparks" demonstrates not only the struggle with an actual supernatural being, but the struggle man has with knowing what to believe about it. 

Combinations of Conflict

Some stories will combine several types of conflict to create an even more intriguing journey. We see examples of woman versus self, woman versus nature, and woman versus other people in the book, "Wild" by Cheryl Strayed. After dealing with tragedy in her life, including the death of her mother and a failed marriage, she embarks on a solo journey to hike more than a thousand miles along the Pacific Crest Trail. Cheryl must deal with her own internal struggles but is also faced with a number of external struggles throughout her journey, ranging from weather, wild animals, and even people she encounters along the way.

Article edited by  Stacy Jagodowski

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What is Conflict in Literature? || Oregon State Guide to Literary Terms

"what is conflict in literature": a literary guide for english students and teachers.

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What is Conflict in Literature? Transcript (English and Spanish Subtitles Available in Video, Click HERE for Spanish Transcript)

By J.T. Bushnell , Novelist and Oregon State University Senior Instructor of Literature

25 March 2021

“Tension is the mother of fiction,” says the writer and writing teacher Jerome Stern. I think he’s right. Tension is that tingle of anticipation you feel when you’re reading something great, the interest and excitement that keeps you turning pages. But where does tension come from?

Let’s do a little mental experiment. Let’s say you’re talking to your favorite fifteen-year-old girl. What would your reaction be if she said, Oh my gosh, you have to hear this story! So, the other day I stayed home while my parents and sister went to a picnic, right? So I washed my hair and then laid in the sun to let it dry, and I dozed off for a while. Then I got hot and went inside and listened to some music.

Now, if you’re like most of us, your reaction would probably be, Uh, I thought you said you had a story. Did you hear something disturbing in the music? Did something happen to your hair? Did you get locked out, or caught in a rainstorm, or maybe attacked by a swarm of murder hornets? Where’s the story?

In a story we want something to happen, usually something bad. Until it does, we’re not very interested. Tension might be the mother of fiction, but problems are the mother of tension.

In fiction, those problems are called conflict. More precisely, conflict means thwarted, endangered, or opposing desire . It’s basically when a character wants something but something else gets in the way. Maybe the character wants a thing but can’t get it. Maybe the character has something but is in danger of losing it. Maybe the character wants two things that are incompatible. Whatever its form, though, it gets our attention.

conflict_definition.jpg

Remember our favorite fifteen-year-old girl, for example? Well let’s modify her story a little. Let’s say that while she’s listening to music, a car she doesn’t recognize comes down her driveway. Let’s say the driver is a boy she noticed the night before at the local teen hangout, the one who fingered an X into the air and said, “Gonna get you, baby.” Let’s say he flirts with her and tries to coax her into the car, and she starts to realize he’s actually a grown man dressed up like a teenager. So is the guy in the passenger seat, who eventually asks if he should go yank out the phone cable. The first guy tells him to shut up, then very sweetly threatens to set her house on fire and hurt her family if she doesn’t come get in his car. Still boring?

That’s the summary of a story called “Where Are You Going, Where Have You Been?” by Joyce Carol Oates, and it’s bristling with tension. Why? Because of all the conflict! The girl wants the men to leave, but that desire is thwarted. She wants to stay inside her house, but that desire is endangered. She wants to protect herself, but she also wants to protect her family, and if she believes the man in the car (which she shouldn’t), she can’t have both. She also wants other things that are thwarted, endangered, or opposed, and this is the web of conflict that produces both the action of the story and, ultimately, its deeper meaning. It creates the tension, it launches the plot, and it evokes the themes . Quite simply, without the conflicts, there is no story.

To understand what’s interesting about a story, then, you only have to keep an eye out for what the characters want, and then what gets in the way of it. Those questions will lead you through the story’s branches and into its beating heart.

Want to cite this?

MLA Citation: Bushnell, J.T.. "What is a Conflict?" Oregon State Guide to English Literary Terms, 25 Mar. 2021, Oregon State University, https://liberalarts.oregonstate.edu/wlf/what-conflict. Accessed [insert date].

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What is Conflict in a Story? Definition and the 4 Types of Conflict Examples

by Fija Callaghan

As we saw in our article on plot , all story is driven by actions, reactions, and choices. And all choices are driven by conflict.

Conflict can be something as simple as choosing a brand of cereal at the supermarket—do I buy the one I know I really want, or do I get the one that’s on sale? Or it can be a socio-internal quandary—do I risk moving across the country to take a fantastic job opportunity, or do I stay in a place where I already know I’m comfortable and safe?

Your character’s conflict can also be a direct opposition to another person, or it can be a fight against an impersonal, external force, like a big storm.

The type of conflict your protagonist faces and, more importantly, how they deal with it, can reveal a lot about their character. It’s also what causes them to begin making choices that form the backbone of the story.

Let’s look at some of the major types of conflict you can use to propel your story forward.

What is conflict in a story?

In a story, conflict is any moment where the protagonist wants something, but someone or something is standing in their way. Often this is another character who either wants the same thing as the protagonist or wants something that’s in direct opposition. Conflict can also come from the natural world, society as a whole, or from within the protagonist themself.

For example, if your character wants a promotion at their job, their conflict could stem from another character who also wants that promotion, or a family member who doesn’t want the protagonist to apply for it so that they can spend more time at home. Maybe even both!

Alternatively, your character’s conflict might come from within. For example, maybe your character is struggling because the promotion would ease their financial troubles, but it would also involve doing things that compromised their own personal ethics.

The central conflict might be a matter of the protagonist balancing their needs and desires, choosing what’s worth fighting for and what’s worth sacrificing. It’s for you as the writer to decide which choices are the right ones for the story.

Why does conflict matter in storytelling?

In a compelling story, creating conflict is what powers the events of your plot. Without some sort of inner or outer opposition (and we’ll look closer at internal conflict and external conflict down below), your characters would go on living their lives exactly as they always had.

If you don’t give your characters something to struggle against, your story won’t have any deeper meaning or create an emotional response in your reader.

All stories begin with a change in circumstance that we call the inciting incident . You may have heard this mentioned before as a moment early on in the story where your protagonist’s world is forever, irrevocably, altered. What’s talked about less is that this moment, the inciting incident, cannot exist without conflict .

For example, one of the most famous types of inciting incidents in storytelling is the formula called “a stranger comes to town.” This is where a new character arrives in the protagonist’s world and knocks it squarely off center. This could be something like a traveling theater coming to deliver a very special one-night performance, or a troubled new kid arriving at the main character’s school.

While these are both great places to begin a story, neither is a story in and of itself —not without conflict. If the traveling theater delivers an enjoyable family-friendly show before moving on, or if the new kid settles into a productive routine and does their homework on time and is quickly forgotten, then nothing has actually happened .

We don’t just need these strangers to arrive at the beginning of the story—we need them to arrive and start messing things up!

The same is true for each pivotal plot point. Throughout our story, the protagonist and the characters around them will face conflict, make choices in response to that conflict, and resolve the conflict (or not); and the choices that they made will lead them into other plot points, other conflicts, and other layers of story.

This is useful to remember if you’re ever stuck in your writing and not sure how to move forward; the answer is almost always more conflict .

The 4 types of conflict your characters will face

As we saw above, opposing forces in a story can present itself in many different ways. It can be overt, characterized by ticking time bombs and villain monologues and hostages tied to railroad tracks; or, it can be subtle, stemming from deep psychological shadows and moral uncertainty and primal human weakness.

All types of conflict have their place in storytelling and, in fact, very often several types of conflict in a story will be layered one on top of the other. Let’s look at the different types of classic storytelling conflicts in literature.

1. Character vs. Character

The character vs. character conflict (also called the interpersonal conflict) is a situation in which two people, or groups of people, find themselves fighting for contrasting desires that are absolutely exclusive to each other.

This is the classic “hero vs. villain” story that we all learned to recognize as children: Spiderman vs. Doctor Octopus, Peter Rabbit vs. Mr. McGregor, the Pevensie children vs. the White Witch. This can also be a conflict between two otherwise good characters, such as two best friends fighting for the same wedding venue, or two business owners competing for customers in a small town.

In these stories, your characters will fight tooth and nail for what they want,; they may question why they want what they want (this ties into internal conflict, which we’ll look at next); and by the end of the story one or both of your characters will either end up with nothing or they’ll learn to want something different.

You may close your story with the defeat of one character—usually your antagonist—or your two opposing forces may come to some sort of peace with one another.

2. Character vs. Self

Also called the internal conflict, this is where a character struggles with two conflicting desires or needs—such as whether to do something against their personal ethics in order to succeed or survive, or whether to alter a deeply-ingrained set of beliefs when faced with new information or a new circumstance.

In most cases, these conflicts come from flaws that are already present in the character when the story begins: fear, greed, addiction. Then, when the rising action of the story introduces a need to overcome these flaws, the character begins making difficult choices that propel the story forward and ultimately make them a very different person than when they started out.

You’ll often find the interpersonal and internal conflicts used together quite effectively, as the antagonist of the story causes the protagonist, or hero, to begin making choices that aren’t entirely comfortable and examining their own internal weaknesses.

Your protagonist may also consider why their initial goal was so important to them in the first place, and they may discover that what they’ve actually been chasing is something much deeper.

3. Character vs. Society

The society conflict sees the protagonist pitted against a collective, impersonal antagonistic force such as a government body, an unfamiliar culture, or a conflicting demographic. This type of conflict is often used in dystopia-type stories, like The Hunger Games , where only the protagonist and the reader realize that there’s something deeply wrong with the society as a whole.

It can also be an instance in which the main character is thrown into the alien cultural practices of an unfamiliar landscape and is forced to adapt, and quickly. Sometimes, like in Joanne Harris’ Chocolat , it might be a matter of the protagonist and the society coming around to some sort of understanding and acceptance of the things that make them different.

These types of stories can be used to show injustices and points of discussion in our own society, and encourage readers to examine their own relationship with the world around them.

4. Character vs. Nature

These are stories in which the main character, or central characters, are battling against a force of something beyond anyone’s control. This could be something like being lost at sea and surviving against impossible odds, or preparing a town against the threat of an incoming hurricane.

The most famous example of nature conflict is in Herman Melville’s Moby Dick , in which a sea captain makes it his mission to conquer the white whale at the center of the story—to overcome nature itself. Although the whale is a living, sentient being, in this story it’s shown as an impersonal force of the natural world. The ship’s crew also face storms and other natural challenges characteristic of being at sea.

In contemporary and futuristic literature, this “character vs. nature” dynamic can sometimes come in the form of a conflict against technology. Although this presentation of our natural landscape is quite different, it follows the same principles of conflict against a broad, impersonal, uncontrollable force of the world around us.

How to find the right conflict for your story

It’s important to note that while most story conflicts fit into one of these four categories, many compelling stories will have more than one type of conflict running at the same time.

Really, some degree of conflict exists any time a choice is made (in story as well as in our own lives), and in a well-crafted narrative there’ll be multiple levels of internal and external conflict at any given moment. It is by overcoming conflict that our characters change and grow.

As you may remember from our article on character , all story stems from a place of human need and desire. What our characters want and need most will inform every moment of the plot, which means that the conflicts that drive this plot also have to be directly intertwined with our character’s journey.

Pinpoint your protagonist’s desire

In order to find the right conflict for your story, begin by asking yourself what your protagonist wants—for example, do they want to have their creative work recognized, to see more of the world beyond the confines of their small town, or for the man they love to leave his unhappy marriage and be with them instead?

Now, ask yourself: Why don’t they already have what they want? What’s standing in their way?

Perhaps your protagonist hasn’t shown anyone their work because they’re too afraid of ridicule and rejection (character vs. self).

Maybe they haven’t left their hometown because they’re locked into a respected position, such as a doctor or a priest, and they have too many people relying on their presence there (character vs. society).

Maybe the love interest’s wife has him tied into difficult circumstances because she doesn’t want him to leave, or maybe the man himself is too adverse to uncertainty and change (character vs. character). Can you see the stories beginning to shine through?

Once you have a clear idea of what your protagonist wants and what’s preventing them from getting it, your story’s conflict will naturally fall into place.

How to resolve your story’s conflict (the right way)

Once your characters have fought their way through the conflict that you’ve thrown at them, you’re going to need to give them a resolution.

The most important thing to remember is that the resolution to their conflict must come from them —from their actions, needs, and understanding of the world (not coincidentally, these are usually the same things that caused the conflict in the first place).

Let’s see if you can identify the problem with these resolutions:

The creative main character—let’s say they’re a painter—accidentally leaves some of their sketches behind at a café. A major publisher of children’s books stumbles across it, finds out who they are, and offers them scads of money to illustrate their upcoming new book.

A man is stuck in a small village and dreams of faraway adventure. Then a member of the town council contacts him and tells him that in exchange for decades of exemplary service, he’s being gifted with a generous early retirement so he can live and explore where he pleases.

The central character has fallen in love with someone who is married. Suddenly the spouse dies, leaving the main characters free to build a happily-ever-after.

Do you see what all of these resolutions have in common?

The protagonist doesn’t do anything .

These are all examples of the plot device deus ex machina , or “god from the machine.” This is a term left over from Greek stage dramas where a god-like figure would be lowered onto the stage via pulley, and they would then swoop into the entanglements of the plot and save the day.

It refers to any moment where an external, unforeseen force—this can be another character, a new discovery, a natural disaster—shows up out of the blue to magically sweep away the conflicts of the story and give our heroes a chance at a happy ending.

These types of resolutions leave the reader (or viewer, in theater and film) feeling unsatisfied and cheated out of a good story.

It’s okay to give your protagonist a few moments of good luck (not too many!), but the overall resolution to the story’s major conflicts need to come from them—from the choices they make, from the things they learn about the world and about themselves, from the way they grow as a person through the events of the plot.

Resolution in a story comes from the protagonist gaining a deeper understanding of their own weaknesses and learning how to overcome them. In many ways, it should be a direct reflection of what caused the conflict in the first place.

When you’re wrapping up your story’s plot and resolving the major conflict, ask yourself how your protagonist has changed over the course of the story (and if they haven’t… you need to go back and look at your character arcs again). Do they still want the same things they did at the beginning? How would they approach those goals knowing what they do now?

Use what they’ve learned to look at the story’s conflict in a new way.

Conflict is the driving force behind your story

Even with rich, evocative settings and vivid, relatable characters, you need conflict in order for ideas to become a story. Conflict in a story is what links one plot point to another; it’s what gives your characters something to fight for and a reason to change and grow as they fight for those things.

Whether your central conflict is between your protagonist and another character, between them and the wider world, or even between them and the shadows deep within themself, engaging conflicts will keep your readers turning pages for the entire journey.

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Mastering The Art Of Writing A Great Conflict Essay

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… But how to write a conflict essay?

This task can become a real stone of stumbling for many students, especially when they write admissions essays.

The practice shows that students tend to describe conflicts in the one-dimensional narrative, where one side of the conflict is depicted as a knight in shining armor and the other side is a complete villain.

Of course, it is the simplest way to manage conflicts (as anyone sees clearly, who is right), however, this approach highlight the inability to give an unbiased assessment of both sides of the conflict.

Here we will cover the essentials of writing such essays and how to avoid the most common mistakes in the conflict papers.

Studying the basics of the conflict essay

What is conflict, and what are its causes? Is it possible to avoid it, and how to solve it? Who are the participants, and is there a possibility for them to have a peaceful order? Here are the main points that should be covered in your text.

But what are you going to write about?

Different vocabularies give so many different definitions of this term that it is so easy to be bamboozled by all these meanings.

• A war of a fight.
• A mental struggle.
• An opposition of persons or forces.
• Anything that sets the character back from achieving a specific goal (in fiction).

That is why it is crucial to read and understand the task before you start writing.

Writing guideline for the essays about conflict

Your journey to the perfect paper should start with the proper investigation:

• What is the type of conflict you are writing about?
• What are its reasons?
• What are the consequences?
• How to solve it?

Taking into consideration all mentioned above, it becomes clear that the disagreement between two people does not limit the type of conflict. It also may cover a conflict between a man and society or nature, or even a fight against self.

And do not forget about the key players: the protagonist and antagonist of the conflict.

As soon as you have defined the central conflicts and leading players, it is time to gather facts that prove this point of view. Arm yourself with a pen and start searching for the evidence of conflict in the literary work, if your task is to cover the conflict depicted in a novel or a poem.

You may use many sources for data collection; however, make sure that they are reliable and relevant. And do not forget to jot down the information about the source for proper referencing; otherwise, using materials without appropriate arrangement will be considered plagiarism.

Carefully analyze gathered material and single out a precise thesis statement that will be the basis of the paper. Later it will become the last sentence of the introduction, but now it is the basis of the outline for your essay on conflict. The basic outline template for such paper will look like this:

• A hook sentence – an interesting fact, question, quote, or anecdote.
• Introduction part that makes readers aware of the conflict.
• Thesis statement.
• 3 body paragraphs , each with one issue of the conflict and several proofs.
• Address whether the conflict was resolved or not.
• You may also discuss the ways of avoiding or solving the conflict.
• The conclusion  should cover the main points of the paper with the rephrasing of a thesis.

Breaking down a personal conflict essay

Two types of conflict can be covered in the essay – personal and internal. Personal, on its turn, can be divided into a conflict between people, or a person and organization, or a person and a state (especially in the countries of the totalitarian regime).

Usually, students prefer to describe their own conflict experience, for example, with parents or peers. In this case, one has to define the purpose of writing as thereon hangs the tone of the text. For example, the aim is to show that there are no right or wrong, but two legitimate points of view.

Then the tone of the paper will be empathic as the writer has the insight into the opposite point of view and there are two sides of every story.

What about an internal conflict essay?

Such essays deal with the psychological conflicts inside one person. Thus, they discuss what happens when we have to do something that is against ethical standards or values, or the clash of logical and emotional response to something.

Here much prominence should be given to the ways of overcoming this conflict and as a result, becoming a better person.

And in both cases, it is necessary to follow these guidelines to improve the quality of the text:

• Pay attention to the task requirements: do not exceed the word limit , arrange the quotes according to the chosen referencing style, format the paper properly.
• Make sure that the paper is plagiarism-free .
• Edit and proofread the text.

Take advantage of a well-written conflict essay example

As they say, seeing once is better than hearing twice. When you look through a top-notch paper written by a professional writer, everything clicks into place.

What is more, you can use such paper as a template for your own paper and as a source of inspiration.

…What’s not to love?

Can’t complete such task in time? Entrust it to the professionals! Save time and energy, while your flawless paper will be ready for you in no time!

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Conflict in Fiction: What It Really Is and Why It’s Important to Plot

Years ago, I remember reading an interview with a famous author, in which he explained that one of his secrets to writing a successful story was to double check that he had included conflict on every page . I dutifully underlined the sentence, but it always confused me a little bit. What about pages that described the characters’ travels? Or what about pages where the dialogue was mostly relational? What about love scenes?

For that matter, what about whole stories in which, practically speaking, not much happens? Two high-altitude examples off the top of my head: David Guterson’s East of the Mountains and Charles Frazier’s Cold Mountain . These two acclaimed novels are both literary-style stories that are mostly existential in nature. Stuff happens; there is a plot; but with a few exceptions, there really isn’t much in the way of what we generally consider to be conflict .

So how can these stories work? For that matter, how can they, by the classical definition, be stories at all?

The answer is all in how you define “conflict.”

What Is Plot Conflict?

What comes to mind when you hear the word “conflict”? You might think of physical altercations or even outright violence . At the least, whatever you’re currently picturing very likely involves confrontation .

It’s natural enough for our modern, western minds to conflate conflict and confrontation when we consider fiction. This is because in most stories and most scenes, conflict does manifest in some sort of confrontation, whether it’s subtextual, verbal, or physical. Everything from passive-aggressive staring contests on up to intergalactic wars. That’s conflict.

But to limit our understanding of plot conflict to merely confrontation is problematic on a number of levels. For starters, it is just too simplistic. As noted, many wonderful stories from many traditions will prove this thesis wrong at a glance. More than that, it’s worth considering that this overemphasis of confrontation (especially in its almost ubiquitous pairing with violence) equally reflects and generates a cultural emphasis on the same.

There’s nothing wrong or incorrect in using confrontation to create plot conflict. But to understand conflict as confrontation is much too narrow a definition.

Indeed, what I personally deem the most useful perspective is that of conflict as obstacle . Confrontations can and often do create obstacles, but even more often they result from the obstacles. Therefore, conflict as a generator of plot is much less about the possible emergent of a confrontation and much more about the occurrence of obstacles to the characters’ forward progress toward their goals .

Understanding How Goal/Conflict Function in Plot

Let’s go meta for a second and consider why it is that we even need conflict in fiction at all. Why is it such a big deal?

One of the simplest ways to examine this question is to boil plot down to one of its smaller integers—the scene. How does plot work on the scene level? And how does conflict factor in?

>>Click here to read more about scene structure.

Techniques of the Selling Writer by Dwight V. Swain (affiliate link)

Although there are many ways to examine scene structure , one of my favorite remains Dwight V. Swain’s classical approach, which breaks scene down into causal halves: Action and Reaction. Put practically, this simply means: The Character Does Something and Something Happens.

From there, we can break the scene down further. The Action half, which is where the majority of plot movement happens, can be broken down into three parts: Goal, Conflict, Outcome.

To fully understand how conflict works on both the scene and plot level, we first need to make sure we understand how “goal” works. Just as the word “conflict” tends to evoke immediate but limited ideas of its scope, so too “goal” often creates associations with ambition, focused drive, and specific plans. When this is how “goal” is used in a scene or story, the “conflict” that follows very often will be confrontational in nature.

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However, a broader understanding of the word “goal” might be more along the lines of “intention” or even “direction.” What “goal” really indicates is simply the character’s forward motion—which will then be met by an obstacle of some sort that will require re-calibration—aka the Outcome of the scene.

The Goal/Conflict pairing in a scene might easily and successfully translate into a character’s plan to rob a bank, which then leads to a confrontation with police. But it can just as accurately be represented by a character who gets up in the morning with the intention of making breakfast, only to be blocked by the obstacle that there’s no food in the refrigerator.

At first glance, we’re talking about vastly different types of story here. But in fact even most race-‘em-chase-‘em, plot-centric stories will include well-structured and integral scenes in which the Goal and Conflict remain ordinary and even subtextual.

What Is the Purpose of Conflict in Fiction?

Conflict keeps the story moving. Just as in life, characters are always moving toward something—whether that something is specific or vague. It may just be getting through the day so they can go back to bed and start over. Regardless, there is always forward momentum. There is always an underlying need that keeps humans moving. And that need is created by either conflict or the threat of conflict—by the suggestion that there may be obstacles between us and what we need to survive .

No food in the fridge means our characters have to find another way to feed themselves. And even if they do have enough food in the fridge to keep themselves successfully fed for another few hours, a new need will immediately arise as soon as they’ve put their forks down: now they have to do the dishes, dress for work, use the bathroom, etc.

It’s true most of the time, these mundane “goals” and “conflicts” will not be enough to keep readers’ interest. After all, readers probably get their fill of solving these sort of problems in their own lives. They probably just finished their own breakfast dishes before picking up your book.

And this is why most stories raise the stakes.

As in Cold Mountain (which is, in fact, mostly about one of the main characters attempting to fill her larder with food), the stakes in fiction will usually be closer to life and death than just about whether or not the character has to walk down the street to buy more eggs.

Cold Mountain (2003), Miramax Films.

And that is where confrontation often enters the picture. The higher the stakes in a story, the more important even mundane daily intentions become. Those intentions become concrete and specific goals because of their importance to the character . The more important the character’s goals, the more dangerous any obstacle to that goal becomes. And the more dangerous the obstacle, the more likely the character will be willing to engage in confrontation to achieve that goal.

The Importance of Understanding “Conflict” in Fiction

I still think “conflict” is a good term. It’s evocative after all. Just saying it immediately brings up possible scene ideas. Plus, it’s ubiquitous in the writing world.

But it’s also important not to limit its definition too strictly. Doing so inevitably limits our understanding of story itself. Ultimately, “conflict” is just a word used to describe the things that happen to our characters to change their trajectory to whatever degree. By that definition, conflict is the welcome but surprising kiss between two characters, just as it is the toilet paper stuck to one character’s shoe before a big meeting, and just as it is one character arguing with another or even socking the other in the nose.

In short, it’s a sliding scale. By not boxing “conflict” into the idea that it must always indicate “confrontation,” we can also avoid boxing our stories into limited forms. Although the terms “goal” and “conflict” aren’t going away, you may find it helpful to at least keep it in the back of your mind that “intention” and “obstacle” are just as valid and, in fact, perhaps more accurate ways to view the abstract mechanics of plot.

Wordplayers, tell me your opinions! What do you think is a good definition for conflict in fiction? Tell me in the comments!

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K.M. Weiland is the award-winning and internationally-published author of the acclaimed writing guides Outlining Your Novel , Structuring Your Novel , and Creating Character Arcs . A native of western Nebraska, she writes historical and fantasy novels and mentors authors on her award-winning website Helping Writers Become Authors.

This is a brilliant post, thank you.

I once read the elements of a scene are:

Goal Conflict Disaster Reaction Dilemma Decision

The term ‘disaster’ always confused me as it suggests something catastrophic.

I recently read about these elements, and the term “disaster” confused me as well. I write fantasy but it’s not very heavy on the action so this made me feel like it had to be.

The term “disaster” originated with me. Dwight V. Swain, who originated the rest of that list for scene structure terms, used “outcome” instead. If I had it to do over, I’d use “outcome” more prominently as well, although I do personally like “disaster,” since it reminds that the “outcome” needs to be something that creates complications and therefore the subsequent goal.

Excellent breakdown here.

You say conflict keeps things moving. I think of it more as that characters always *are* moving (“Make a character want something on the first page, even if it’s only a glass of water.” –Kurt Vonnegut), and conflict is the part that makes us aware of that, and how it might change. A drive is just cruise control until we hit a speed bump, after all.

But anything that changes that motion, or even implies it might change, is a form of conflict — “What’s going to happen now? Has he been on the wrong track all along? She didn’t deserve that, why’d that have to happen?” Even that surprise kiss counts, as long as we care about what it means.

Yes, I like that. I’ve always defined “moving the plot” as “changing the plot.” If a bunch of stuff happens (even if it seems like “conflict”), but the character’s trajectory or inner development never changes, then the plot hasn’t moved.

I think of ‘confict’ as something that keeps tension in the reader’s mind. In fact, I prefer the word ‘tension’. This can permeate even down to the choice of words to describe something – specific words chosen by the narrator or author. For example (quick, off the top of my head) – a sickly smile. Something that is unexpected, not-quite-right, alerts (sometimes subtly) the reader.

I like “tension” as well, although I do see it as a separate thing from “conflict”–namely, that tension is the *promise* of conflict. Foreshadowing, basically.

Greetings! I like how you define tension. I wonder if you also have an article about it. Would mind if I read it?

I have a short article about conflict vs. tension, which you can find here: https://www.helpingwritersbecomeauthors.com/conflict-and-tension/

This is greatly appreciated! Thank you very much!

In the Bobbsey Twins stories, the tension never gets very high. A small event happens, there is the appearance of danger, and then it is resolved. This pattern repeats over and over (“episodic”). I’m sure this is a conscious choice because small kids don’t like a lot of tension.

Sometimes, beginning writers don’t like tension and so they don’t put much of it into their stories. And in negotiations, whoever can’t stand the mounting tension will “cave” first, and get the worse end of the deal.

We also find tension in music. Chopsticks, written by a sixteen year old girl, is episodic; it never strays far from the original key. Classical music, has short-term and long-term tension that vary; it goes through numerous key changes before finally resolving all the tension in the last chord.

I agree as well! Even the promise of conflict is enough reason for a reader to keep reading to find out what happens. They can “feel” a turn for the worst through all the devices that create tension. ~TKS

I have a set of questions I answer before each scene. One is: ‘what is the conflict/obstacle preventing you from achieving your goal?’. I’m wondering now if I should change goal to intention, but I think it’s how I already often approach it. Words are so important. Once again, thank you for a thought-provoking post!

I agree that the words we use are important, but I also think it’s useful to have “umbrella” words like conflict that we can use to refer to the general basic building blocks of story. For me anyway, using these terms, helps me not get bogged down in the nuances when I’m doing the big-picture work of plotting. But it’s also important not to take these words too literally, as that cause just as many bog-downs.

I really love the word ‘intention’ vs ‘goal,’ KM — that clarifies things so much. Goals are sometimes wrought with ‘bigness.’

When intention is thwarted–the character moves to heat up the abandoned house, only to discover there are not enough pellets to keep the stove lit–shows that the character may be attempting the simplest thing and yet faces the simplest hurdle, one which could launch a whole string of new obstacles. What happens if there are no more pellets within 20 miles? What happens if the stove has not been used for years, and even with adequate pellets it might not work right? What happens if the small amount of pellets she does have burn just fine, but leave traces of carbon monoxide because of a faulty fan she doesn’t know about? What happens if she tries to burn something else in the stove instead?

Suddenly, nothing is simple, not even lighting the stove.

No, this sort of scene does not describe a swashbuckling clash between valiant woodsmen, but it’s still conflict. And as a reader, I want to know how she overcomes these obstacles.

I liked that you referenced COLD MOUNTAIN in this episode, too, because it shows how really good books don’t have to be written with an eye for Hollywood Splashy High Action Movie qualities to be rich with conflict, tension, and drama. ~TKS

Ah, yes, the stove is another really good example!

Great post, Katie. I’ve read that sitcoms have conflicts that are mostly mundane. “Seinfeld” is a great example. While the conflicts are mostly small, the reactions to them by the characters are big. That’s what makes the story.

Really, reaction is where it’s at in stories–something that is often overlooked.

Like Paula, I often think in terms of tension rather than conflict. This makes sense for my current WIP because my main character is very conflict-averse and driven by a desire to keep everyone happy. So for her, tension is a very big deal and her internal conflict throughout will be peace keeping versus truth telling. There are a couple of big external conflict scenes in the form of arguments, but for the most part, it’s a slow simmering tension.

Yes, sometimes avoiding conflict comes at a much higher personal expense than actually engaging in it!

fwiw, Orson Scott Card wrote that a story doesn’t require conflict, it requires /struggle/, which he defined as ‘a heartfelt effort against resistance, or, heartfelt resistance to someone / something else’s effort.’ He said it doesn’t have to be an enemy, it just has to be a hard thing to do.

I like that!

Great distinction- informative, thought provoking. Thanks- always learn to reflect a bit deeper on your topics after your articles.

Thanks for stopping by, Kathy!

This excellent article has enabled me to understand the broader definition of “conflict” and I now see how conflict applies to much in my memoirs that are a large part of why I feel they are not only important stories to tell, but also entertaining; that while memoirs might by their nature have “slow parts,” it’s those little conflicts that keep the story going. A technical note: In your phrase “race-’em-chase-’em,” the apostrophes appear upside down. A technical glitch caused that to happen in one of my books and went unnoticed by me until I caught it in the galley. An expensive lesson for me for when checking for pre-print errors.

Thanks, Charles. Unfortunately, I don’t think I can format the apostrophes differently on WordPress, but I do try to avoid that in typesetting books.

Try typing a letter, then the apostrophe, then the word you want to follow the apostrophe, then deleting the first letter. I think this will also work when done in Word or other word processors, and then cut-and-pasted into WordPress.

Here’s something that I think will prove your point about overemphasizing conflict. I apologize in advance for the length. There is a narrative structure that isn’t driven by conflict / confrontation, and the Japanese call it “kishōtenketsu.” However, it’s used by other people, including Westerners. We use it in urban legends and slice-of-life stories.

This structure is told in four acts: Intro (ki), development (shō), twist (ten) and conclusion (ketsu). In an urban legend you get:

Intro (ki): A young man is driving home in the rain late one night.

Development (shō): He stops for a young, beautiful woman who is motioning for a ride, and offers to take her home.

Twist (ten): When he arrives at the woman’s house he discovers that the woman has disappeared from his car.

Conclusion (ketsu): He knocks on the door of the woman’s house and is informed by an older gentleman that the woman was his daughter … who died four years ago on this very night. She’s still trying to get home.

For a slice of life example, I’ll use the General Iroh vignette from the “Tales of Ba Sing Se” episode of Avatar: The Last Airbender :

Intro (ki): General Iroh runs some errands in Ba Sing Se.

Development (sho): Someone tries to mug him.

Twist (ten): Iroh mocks the mugger’s incompetent fighting stance, then has a heart-to-heart with his would-be attacker, and convinces him to be a better man.

Conclusion (ketsu): Iroh holds a private memorial service for his son, and wishes he could have helped his son as he helped the mugger.

I have never seen the movies you mention, but I’m wondering if the reason they don’t seem to fit into the rules about conflict is because they’re using the kishōtenketsu structure. The key is that this structure focuses on how the characters deal with the Twist. If you have Netflix, the first episode of Squid Game (South Korean horror) is also using this structure. While the characters do have interpersonal conflicts, those conflicts are not driving the plot. What drives the plot are the reactions of the characters to their plight.

The intro has the main character showing what a jerk and loser he is, then it develops with him playing a weird and humiliating game with a stranger in the subway station. The stranger gives him a business card with a number that will allow him to join the Squid Games. The main character becomes player 465.

The twist comes when he and the others play a game of Red Light, Green Light and discover what happens to the losers. The conclusion is that the characters realize they’re in a horrific situation, and have to figure out what to do about it. All of the tension is based on seeing if their strategies and tactics work in each game they play, but it is never possible for the characters to go on the offense and confront the game masters.

Because this is a structure driven by how characters react to the Twist, it perfectly suits a horror story. And interestingly, this structure is suited for a main character, as opposed to a protagonist. A protagonist has to move the plot, and has to be proactive after the midpoint, but in a kishōtenketsu horror like Squid Game there may not be an opportunity to be proactive. You just have to endure one fresh hell after the next (I gather this facet ties into Buddhist beliefs about withstanding adversity). The virtue is in endurance, not fighting back, and if I understand correctly, you’re not necessarily supposed to have goals or desires in this belief system.

I think the failure to understand how conflict is used in a story is a central problem in a lot of “story fails”: writers who write slice-of-life stories as a series of pointless random events, or writers who only have a main character in story that requires a protagonist. Gotta know your Squid Games from your Hunger Games 🙂

I hope this makes sense!

It looks like my long reply got eaten by the spam filter, probably because I used some Chinese characters, which is ironic, since the point of my long comment was that many English-speakers refuse to cite Japanese / Chinese / Korean language sources when they present their misrepresentations of narrative/rhetorical theory from those cultures.

So, I’m going to write a shorter comment, without Chinese characters to make it through the spam filter. Perhaps you also tried to cite sources in Japanese or Korean and then had to edit your comment to get through the filter, in which case, this criticism is unfair.

I don’t know Japanese, but every commentary I’ve seen of kishōtenketsu in English is based on one of two online essays which don’t cite sources. It is related to a similar concept which originated in Chinese rhetoric. I can read Chinese, and I’ve read about the Chinese version of that concept in Chinese, which is so different from those online English language essays which refuse to cite sources say that I suspect that the English-language essays are full of hot air. If they accurately represent Japanese culture, why wouldn’t they cite Japanese-language sources to prove it?

I’ve also read/listened to a ton of fiction in Chinese, and I can tell you conflict (as defined in this article) is just as integral to Chinese-language stories as English-language stories. If anything, Chinese culture has a higher tolerance for over-the-top melodrama.

What really, really gets me of these commentaries about kishōtenketsu which, as far as I can tell, have no basis in what any actual Japanese person has said about kishōtenketsu, is that they feel like… orientalism.

Ah, that’s interesting, Sara. As I said, I’ve yet to study kishōtenketsu in any depth, but it’s come up many times in discussions like this. And, yes, your other comment never came through, so it must have ended up in the spam filter (which I already emptied for the day). Sorry about that.

I have contacts in Japan who might be able to find experts on Japanese narrative theory who are also fluent enough in English for an email interview. If you’re interested, I could reach out to them. I would love it if you interviewed someone who understands kishōtenketsu from place of deep knowledge of Japanese culture.

I don’t know that I’m currently fluent enough in kishōtenketsu, in any sense, to properly interview someone about it. But if you run on to any good sources for research purposes, I’d be interested in seeing them.

@Sara, I hope this nests correctly!

I only half-expected kishōtenketsu to get through, so I’m not surprised by your posting woes!

Do you have an example of a story that IS true to what Japanese (or other Easterners) would say about that structure?

I discovered kishōtenketsu at all because I have been actively searching out different narrative structures, and how they suit assorted types of stories. My quest is ongoing…

Usually what I find is that when 1) A story works beautifully, but 2) clearly violates what I thought was an ironclad rule, that 3) the story is truly conforming to a completely different set of rules. Imagine trying to understand a Heroine’s Journey story if you only know the Hero’s Journey. Those situations prompt me to investigate, and my quest is ongoing…

One point that you brought up that I want to clarify: none of my leads claimed Easterners don’t use conflicts in their narratives. That would be a shibboleth instantly outing a source as untrustworthy, because no one who watches anime, Hong Kong cinema, South Korean telenovelas, or Bollywood dramas could seriously believe Easterners don’t use conflict.

No, where kishōtenketsu is concerned, the claim (as I remember it) is that this specific structure isn’t driven by it. That part at least holds up, from what I can tell. A few seemed to think that only Easterners used that structure, but that’s where I part company because it’s clear that the structure is used here in the West as well.

What, exactly, is the difference between a story structure ‘driven by conflict’ and one which is not driven by conflict, yet still has conflict? I don’t understand this distinction. I don’t know of ANY popular Chinese-language story which doesn’t have conflict as a core element.

I have seen people claim that kishōtenketsu means that a story doesn’t need conflict.

I understand the related Chinese concept, qi cheng zhuan he (I won’t write it in Chinese characters because of spam filters) better than Japanese kishōtenketsu. Qi cheng zhuan he originated in poetry. There’s a debate about whether famous old poets used it on purpose. I don’t entirely understand this debate, so I’ll just say that some famous Chinese poems obviously fit this structure, intentional or not.

Qi cheng zhuan he is also how schools teach children to write essays, just as English-language schools teach children to write essays with a beginning, middle, and end. I can’t post links because of the spam filter, but there’s a paper in English about qi cheng zhuan he and Taiwanese high school students which (based on my skim, I haven’t read it in full) looks decent.

There’s someone who writes screenplays in Chinese and teaches screenwriting in Chinese who has compared qi cheng zhuan he and the 3-act structure (my original comment which got lost in spam included his name in Chinese characters). Basically, he thinks they are two ways to reach the same result, a story based on one structure is indistinguishable from the other structure. You can’t tell a movie based on one structure apart from the other. To him, the second act in a 3-act structure is a combination of cheng and zhuan, and the midpoint divides them. However, he says, some screenwriters find it easier to use the 3 act structure as their model, and others find qi cheng zhuan he to be an easier model. So to answer your question about which stories an Easterner (in this case, a Chinese language screenwriter) is true to this structure, his answer is: every story which follows the 3-act structure. But he’s just one guy, albeit a screenwriter and screenwriting teacher. His views may not be representative of all educated Chinese speakers.

There are popular Chinese novels which don’t follow the strictest form of the 3-act structure. For example, The Eagle-Shooting Heroes by Jin Yong doesn’t have a midpoint. It ALSO doesn’t fit qi cheng zhuan he, because it lacks a ‘twist’ in the middle. However, Truby’s plot analysis method, as well as Dwight Swain’s scene structure (well, I’ve never read Swain’s book, I only know about his ideas through secondhand sources such as K.M. Weiland) still check out. Also, Jin Yong follows Coyne’s 5 commandments of story (from The Story Grid) at the scene level.

I agree that taking a story structure theory and applying it to stories from another culture that the theorist doesn’t know is a great test. I’ve ditched some theories because they didn’t fit really popular works in Chinese, and I have as much respect for Truby as I do because his Anatomy of Story works as well for popular Chinese works as for Hollywood movies.

Heck, “Shall I Compare Thee to a Summer Day” fits the qi cheng zhuan he structure even though I doubt Shakespeare ever heard of Chinese poetry theory.

@Sara, nesting here because the comment may get too “narrow” otherwise:

What, exactly, is the difference between a story structure ‘driven by conflict’ and one which is not driven by conflict, yet still has conflict?

Ah, so that’s where the confusion is coming in. Remember that most writers are defining conflict as confrontation, hence the blogpost. The assumption is that the central problem in a story involves an adversarial situation between characters, and one often must defeat another.

The kishōtenketsu discussions (that I’ve seen) are explicitly saying that stories do not require this element for the central problem. That said, I have seen posts [wrongly] claiming Eastern stories in general don’t have conflict, but they weren’t talking about this structure in particular.

Driven by conflict: Girl wants to go to sing, but mom wants her to do something “sensible.” This is the central problem, and the only way to deal with it involves conflict / confrontation, or goals which may be thwarted. The plot is oriented around whether the girl is true to her goals in spite of her mom, or whether she can convince the mom to let her sing, or whether the mom will thwart her dreams, etc. Confrontation is woven into this story.

Simplified, kishotenketsu is driven by causality : a thing happens, and the characters have to deal with it. Each event in this story is typically outside of the characters’ control, and importantly, the events are NOT happening as a consequence to what the characters are doing. As opposed to stealing the plans for the Death Star, which will naturally cause Darth Vader to come after the characters.

Plot not driven by confrontation (conflict): Two buddies are minding their own business, when suddenly zombies swamp their town.*** The buddies can’t do anything about “hell running out of room, so the dead will walk the Earth.” This is the central problem, and confrontation is simply not an option. How the buddies and their friends survive (react) to the central problem is the point.

Yet conflicts can still appear in this story: will the buddies and their friends choose to run, hide, or fight? Will they save other survivors, or is it every man for himself? Is one member of the group in denial about the zombie threat? Resolving these conflicts will not resolve the central problem: the zombies will continue existing regardless of what the characters do.

In Squid Game the characters couldn’t do anything to the game masters or the enforcers, but they did argue, fight with, and betray each other from time to time.

The hypothetical zombie story could potentially have the characters be in agreement about strategy and tactics, but instead deal with obstacles: getting a car, getting weapons, or securing their citadel or bunker. A sapient antagonist actively thwarting them may not be required.

I hope this clarifies what I meant. Sorry for the confusion!

What an amazing comment. Thank you for writing about kishōtenketsu. Coupled with Kate’s post, this will really help my writing.

I haven’t studied kishōtenketsu in great depth, but I did have it in mind when I was working on this post. I agree that many Western stories also qualify as more of what I would call “reaction stories.” The characters will still have goals, but those goals/intentions will be more reaction-based in reference to something that happened to them rather than something they initiated. For example, I was recently reminded of the Glenn Close movie Skylark , which is almost entirely about the characters’ reaction to the challenges and struggles of an ongoing drought.

Thanks for that example. I haven’t seen Skylark” but I can add it to my list of stories for studying the types of narratives.

Substituting Intention/Direction for Goal and Obstacle for Conflict, this makes great sense to me. Thanks! This reminded me of an Australian children’s author who came to my school once and presented some interesting assemblies on how to write a story. He said the easiest way to write a story is to put a string of “Uh-Ohs” in the way of the main character. I can’t remember his name, but I remember his Uh-Ohs.

Pat, that’s a good idea. I’ll try that!

I do hate not citing my sources. I finally thought to ask our school library the “Uh-Oh” author’s name: Richard Tulloch.

It’s an evocative term for sure!

Good article, and I’m adrift in agreement. My writing is very conflict oriented, but much of the conflict is internal to the POV character, and frequently this is what I show in the reaction segment. The character either wrestling with, or actively not wrestling with, the implications of the results of the action portion.

I really appreciate your thoughtful analysis here. FYI, I feel like I’ve beaten the “tortures geezers” lines to the put where those ponies are buried in straw, so I’m putting that away. For at least a week.

Reaction scenes (sequel scenes) are almost always some of my favorite bits, especially in action stories. If they’re neglected, the whole story will weaken. But when they’re given their due, they make everything deeper and richer.

This was such a helpful post! I’ve been so stuck lately on the terms “conflict” and “goal.” It’s so helpful to have another way to look at them. Thank you!

I also wanted to share that one of my favorite helps in constructing scenes comes from Lisa Cron in her book Story Genius. For every scene she suggests asking these four questions:

(1) What does my protagonist go into the scene believing? (2) Why does she believe it? (3) What is my protagonist’s goal in the scene? (4) What does my protagonist expect will happen in this scene?

I especially found it helpful to think about the character’s expectation, whether it’s met or not.

I like that. Subverting character expectations is one of the easiest ways to create scene “disasters” that move the plot forward. And it doesn’t require big fireworks to make it happen.

This subject of conflict is something I struggle with so much because there’s a part of me that can’t bear to see my characters in pain, to witness any sort of real evil or cruelty in my own handwriting. Yet in the novel I’m working on now, I visualize it as a movie and it has to show a decent amount of visible action, not just people glaring at each other. In reading your post today, I got an inspiration for a more visual conflict. Hurray! I guess I have to let my characters hurt a little bit, right? Thanks for another wonderful, helpful post. This subject is always a little tricky.

One thing I find it valuable to keep in mind regarding “hurting” characters is that the more they have to overcome, the more powerful their transformations usually are.

See my note above about Tension.

When wants and obligations are at odds! Thanks for your excellent instruction.

Many a great story has arisen out of that particular tension point!

Good article.

I think “conflict” begins in the mind of the character. Frequently, some of the most intense “conflict” in a story is totally within the psyche of the character whose turmoil of mind drives all of the action within the story. A writer should never ignore the roots of conflict when telling of the actions. For instance, guy sees beautiful girl, but is afraid to approach. Why? What drives his fear? What are his thoughts/turmoil in his mind?

This, of course, can be overdone, but when sprinkled in the action it also can give greater insight into the character. This creates a well-rounded character instead of just a two dimensional caricature.

Absolutely. So much conflict is ultimately the result of personal perspective.

Yes, I agree. In the back of my mind, I always think of narrative ‘conflict’ as resistance against an obstacle.

While reading this blog post, I felt thirsty, so I picked up a cup, went to a sink, filled the cup with tap water, and drank. Not an exciting story because there was so little resistance to me fulfilling my intention (relieving my thirst). But what if I discovered that the sink was broken and no water came out? Or what if I had some disease which made it difficult for me to stand up, I needed water desperately because dehydration would accelerate the progression of the disease (raising the stakes), and I had no caregiver present to fetch water for me? And there are endless scenarios for increasing the resistance and/or raising the stakes.

Spot on. This is exactly what I was trying to illustrate in the post.

I think, in the broadest sense, conflict could be described as anything that disrupts the status quo of a plot, plot point, section of a plot point, scene or scene section.

I agree. Good definition.

A great rundown, much more detail than in my attempt, which was to state:

conflict comes because there is a strong motivation that compels the character to get/do/become or the consequences of inaction will ruin their lives.

If there are no consequences to the actions undertaken to achieve the goal, why do it? Why spend so much time pursuing something that doesn’t matter? … A plot begins with a problem, an unfilled desire, an immediate or likely threat, an unanswered question. Whatever it is, it’s unresolved tension, an unfinished through-line in expectation of a resolution.

Tension, basically, is the risk underlying all the actions, reactions, scene outcomes that divert from the main story goal, that torture the journey from the beginning to the end. … Conflicts are the knots in the rope, tension is the tangles that pull it too tight to carry the weight without a shift in the grip

Thanks for sharing this, Cage. It’s well said.

What a wonderful insight to broaden objective and counter-aggression to intention and obstacle.

I’m one of those people who struggles with portraying genuine confrontation in a story. It literally makes me shudder or cringe to have to let the thoughts cross the stage of my mind.I have a friend who is a playwright. He has read my work and finds it too bland. His teachers said to “chase the protagonist up a tree and throw rocks at him”. To be fair, my friend and his wife have a tradition of watching the Die Hard movies for Christmas. That may be more telling about their perspective. 🙂

However, the intention/obstacle view makes me think of climbing a rock wall. The obstacle becomes the next foothold to keep things moving in the desired direction. That’s a good thing. Maybe this will also help me understand confrontation better, too. It is not just an anger driven burst of hurtfulness but can become a foothold for the protagonist despite the pain. The battle does not need to be a crushing defeat even though it may feel like it. Hope works. Life is deeper than pain.

Thanks for yet another great article.

I would study the kind of stories you enjoy reading/watching (not Die Hard 🙂 ) and examine how the characters in those stories get “rocks thrown at them.” The “bad” things that happen to characters in certain low-key stories really aren’t that bad at all. For example, I’m currently re-watching a BBC favorite, Lark Rise to Candleford , in which the worst things that happen to characters are honest words spoken in haste in an otherwise loving marriage or one character walking in on another teasingly imitating her. It’s real and sometimes deeply anguishing for the people involved, but it’s never brutal or violent–because that’s not the kind of story it is.

This was the podcast episode I needed to hear today.

Sometimes it seems like one of my writing groups only wants there to be terrible, high drama conflict in every single scene. That if a scene only has small obstacles, then the stakes aren’t high enough.

I think that having a string of small obstacles can create major detours for the character, though… and understatement is an art form all its own. I also think tension doesn’t need high drama to work. Tension can be found in quiet place like the weather, place details, word choices… craft level intentions I follow through on as the writer.

At any rate, I find a page-turning read for the kind of story I’m writing wholly unrealistic to the narrative; as a reader I would not like every single thing that happened to the character to lead to a cliffhanger/point of no return… that would be exhausting!

I have always said that every character’s journey has peaks and valleys, and not every story is an adventure tale, hard sci-fi war of worlds, or dramatic murder mystery. Quiet stories can also be POWERFUL (the new film, Power of the Dog, is a mind blower and super quiet).

Now I better understand why expanding the notion of conflict to include more than ginormous detours to intention is an approach that better serves the book I want to write (and read).

“Understatement is an art form all its own.”

Absolutely. I think so many of us, myself included, were “brought up” as writers to focus on high stakes and “conflict as confrontation” that it can be almost difficult to retrain ourselves to also weave in the art of character reaction as well as action.

I think you nailed it… we’re trained to amp things up, but then what happens next? THAT is where the gold is! ~TKS

It’s interesting that the “con-” in “conflict” means “together.”

Your article doesn’t distinguish Outer Conflict from Inner Conflict. Perhaps the character wants to light the stove, but also wants to save the last match to light a cigarette?

Great example!

I like to think of conflict as zero-sum dilemmas. To get something, they have to risk losing something. Or alternative, to get rid of something (a debt for instance) they have risk getting something else they don’t want, like humiliation in what they’ll do to discharge that debt.

Absolutely. When those scenarios are done well in fiction, they are electric , even when the stakes are relatively low.

Wow! I learned almost as much from the comments as from your post. I’m going to weigh in on the tension arguments.

You replied to Paula that you consider tension to be separate from conflict. I might be oversimplifying or misinterpreting what you said, but I consider tension to be more integral. For example, I’ll expand one of your points: conflict as obstacle to goal – through tension. The artful manipulation of tension, amping up or ratcheting down, changes a mechanically structured scene into a page turner you don’t want to put down. I think this holds true regardless of genre.

I interpreted Sara’s comment to show this where she changed the simple act of getting a glass of water into a health crisis brought on by a disability which prevents her from getting to the sink. The tension in the few sentences she wrote makes conflict/obstacle intriguing.

Can you have one without the other?

I think they’re causally related and definitely two sides of the same coin. But I do think you can have one without the other. Tension can presuppose a conflict that never happens (for example, dreading a confrontation with someone is resolved before it gets to that level). Tension *can* absolutely coexist with conflict, but often once the conflict is actually underway, then at least the tension that was involved in expecting the conflict will be resolved. There may be additional tension in wondering how the rest of the sequence will unfold, but the anticipation of the sequence itself will have dissipated (for example, nervous tension before a confrontation often disappears once the engagement actually begins).

As usual, K.M., you’ve taken abstract terms like ‘goal’ and ‘conflict’ and defined them in concrete ways and included a playbook so writers can immediately apply these concepts to their own WIP. Conflict as obstacle: now, this is something writers can use!

Honestly, I was beginning to worry that I didn’t get conflict at all but the Scene/ Sequel structure really deepened my understanding.

What I’m learning from you is how to break down an abstract writing term with different meanings that turn it into something more tangible.

Thanks for another illuminating article!

So glad it was useful, Linda!

Thank you for your insightful articles. Yes, conflict may be important to the plot-driven novel. Thirty years ago my first editor taught me the limitations of the plot-driven novel. It is entertaining, but lacks the life-changing quality of literary fiction. Since then I have sought to emulate classic, literary fiction. Pride and Prejudice is an example of character-driven literature. . . pretty much no plot. Charles Dickens’ Tale of Two Cities is an example of thematic literature. As a writer of historical fiction, theme plays a strong role, as I am trying to teach the patterns of history so we can learn from history. Those patterns are best described as choices and consequences, or action and reaction. The plot automatically evolves from there. Thankfully, I must be getting something right, because the first two books of my historical Birthright trilogy are being prepared to be made into feature films.

It’s true there is a sliding scale of sorts, in that what we often term “plot-driven” fiction focuses more on the external story, while “character-driven” fiction focuses more the internal. But I think the idea that stories are one or the other–plot or character–is a false paradigm. Plot and character are part of a tandem (or, really, a triad with theme). One doesn’t truly exist in story without the other. Stories that we stereotypically think of as plot-driven—genre stories—can be deeply moving and even potentially life-changing for readers when they properly pair the external action with strong character arcs and deeply realized themes.

A definition of conflict… The hardening and softening of perspectives through life events. Maybe not the most practical definitioj for writing a novel, but a general one.

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What Is Conflict in A Story? [Definition, Types, and Examples]

Key Takeaways:

Conflict in a story is the central challenge or set of obstacles that the characters must face. It drives the story forward, creating tension, shaping the plot, and often reflects the deeper themes or messages the author wants to convey.

Click here to jump directly to the best examples of conflict in literature and films!

Conflict is an essential part of any story. It is what drives the plot and keeps the reader engaged.

But what is conflict in a story? What are the different types? What are good conflict examples? And how can you use conflict to create a powerful novel or screenplay ?

Because conflict is the driver for a story , I always take time to carefully consider how to best introduce it, build it up, and resolve it in the most satisfactory way possible.

When I wrote Bare Knuckle Days , an 80’s coming-of-age drama that won the Grand Prize in the FilmMakers International Screenplay Awards, I was faced with the challenge of two parallel storylines, each with its own central conflict, and how to weave them together into the main plot.

That’s the importance of conflict. Without it, you don’t really have a story. But do it right, and you have something special.

In this article, we will explore these questions and more. So let’s get started!

What is Conflict in a Story?

Conflict is the engine that drives a narrative forward. It is the source of tension and drama and propels the characters in the story toward a resolution to the story’s main problems.

Without conflict, a story would simply be a series of static events with no forward momentum!

The most fundamental form of conflict in literature is the struggle between opposing forces, whether two individuals, two groups, or even two opposing ideas.

This driving force can take many forms, from a physical battle to a clash of wills, but the result is always the same: conflict creates tension, and this keeps readers engaged.

Conflict drives change, and change drives the story!

So next time you’re stuck for ideas for compelling fiction, remember: all you need is a little conflict to get the story moving!

Why is Conflict Important?

Conflict is essential in a story because it provides suspense, drives the plot, and develops the characters. Without conflict, the reader would have no reason to keep turning the page.

Conflict allows the writer to explore complex topics and create sympathy for the characters. The writer can show how the central characters grow and change in the story’s resolution by making those characters face challenges.

In addition, conflict can add humor to a story and make it more relatable. When readers see relatable characters struggling with the same problems they do, it can create a sense of connection.

Ideally, this necessary element should be presented as an internal and external conflict whereby the main character must face physical and psychological challenges.

Ultimately, a major conflict is essential to any good story. It keeps the reader engaged and allows the writer to create an emotionally complex tale with deeper meaning.

How To Write Conflict in a Story

1: Make the conflict complex

To create a truly compelling story, you’re going to need to create complex and multi-layered conflict. The story becomes more unpredictable when you introduce multiple points of conflict. Readers of your story will be eager to see how the characters resolve their various issues.

A thought-provoking conflict has the potential to demonstrate the nuances of the human experience. By avoiding the portrayal of characters as purely good or evil, a complex conflict reminds us that most people are capable of both virtuous and questionable actions.

An intriguing conflict has the potential to showcase the intricacies of the human experience!

2: Make the conflict active

One of the most significant mistakes writers make is to allow their story’s conflict to remain passive. In other words, the characters are not actively pursuing their goals but are instead reacting to events as they unfold. This can result in a storyline that feels stagnant and uninspired.

To avoid this problem, ensure that your characters always strive towards something in their own lives. They should be proactive in their quest to overcome the obstacles in their path, and their decisions should always drive the plot forward.

3: Make the conflict believable

A story’s conflict must be believable and realistic for readers to invest in the characters and the plot. Even if we’re talking about aliens or supernatural conflicts, realism comes from the protagonist’s decisions and how they implement them.

If the conflict is contrived or unbelievable, readers will have difficulty suspending their disbelief and immersing themselves in the story.

There are a few key elements that you can focus on to make your story’s conflict more believable.

• First, consider the motivation of your characters. Why do they want what they want? What is driving them to take action? Make sure that their motivation is clear and understandable.
• Second, think about the stakes involved in the conflict. What is at stake for your characters? How much is riding on the outcome of the conflict? What do they stand to lose? Higher stakes will make the conflict more intense and exciting.
• Finally, ensure that the conflict is appropriate for the setting and genre of your story. A kitchen gunfight might be realistic for an action story in a dark house, but it would be out of place in a historical romance set in Regency England.

4: Make sure the conflict serves the story!

As a writer, it’s important to ensure that your story’s conflict serves the story. In other words, the conflict should be an integral part of the plot and the fictional world you have built, not just something happening to the characters.

The conflict should drive the story forward and provide tension and suspense. It should also be resolved satisfyingly, even if (or especially if!) the protagonist fails in their initial quest.

If the conflict in your story doesn’t serve its purpose, it can come across as contrived and forced. So, take a moment to consider the conflict and make sure it serves the larger purpose of your story.

5: Resolve your conflict without clichés

When addressing conflicts in your story, it can be tempting to rely on clichés or stereotypes as an easy way out. However, it is important to steer clear of these shortcuts. Instead, strive for more realistic and practical solutions.

Not only will cliched shortcuts make your story feel formulaic and unoriginal, but they can also alienate readers who don’t identify with the clichés or stereotypes being used.

Instead, resolve the conflict (or opposing force) in a way that feels true to the characters and the world you’ve created. This will require more work, but creating a unique story will ultimately pay off.

The Role of Conflict in a Story

Conflict is the engine that drives the plot of the story forward and gives a tale its shape and purpose. In short, it is the struggle between two opposing forces, whether as a character’s internal battle with themselves or an epic clash between armies.

The introduction of a story is typically where the first hint of conflict is introduced. From there, the conflict begins to grow and develop (during the inciting incident and rising action sections of the story) until it reaches the climax , the point at which the tension is at its highest and the outcome of the conflict is uncertain.

After the climax is the falling action , and finally, the story ends with the actual resolution , the moment when everything is wrapped up, and the world enters its new normal.

In short, conflict in literature is essential to any good story. It gives the story purpose and keeps things interesting for the characters and the reader.

How to Use AI To Write Conflict

AI (artificial intelligence) story-generator tools  have come a long way. If you are struggling with good ideas for your story’s conflict, try using one of these programs for ideas! While AI story generators cannot yet write complete stories without humans, they can make story writing easier.

To see how well this works using Sudowrite, I inputted the following sentence into the program:

Sudowrite gave me three options for possible story directions and I was able to choose which one I wanted to pursue. I chose one about a creepy temple, and this is what was written for me:

As you can see, using AI can be a shortcut to creating fantastic ideas for conflict in a story. It can also be used for other aspects of storytelling, such as describing characters, plot points, and events. I have used Sudowrite and Jasper.ai for AI storytelling, and Sudowrite is my favorite – click the link to check out my full review!

Types of Conflict

While conflict is often thought of as a battlefield, the truth is that there are many different types of conflict. In a story, this can take the form of inner struggles within a character’s mind, external obstacles they face, opposing goals between characters, or the challenges of relationships and interpersonal conflict.

Each type of conflict brings challenges and complications, adding depth and intrigue to the story.

Internal Conflict

One of the most common types of conflict is internal conflict (aka ‘character vs. self’ or ‘man vs. self’).

This inner turmoil can manifest itself in many ways, but it always boils down to the central characters trying to overcome the mental and emotional obstacles in their own lives. It drives the characters forward, giving them a goal to strive for and a reason to keep going.

For example, a character might be struggling with an addiction, trying to break free from an unhealthy relationship, working through trauma, or overcoming a personal flaw stemming from doubt, fear, or guilt. At its heart, it is always about the character’s struggle with themselves.

This type of conflict can be challenging to resolve, as the character must overcome their own demons before moving on. It is also a common theme because it is something that everyone can relate to on some level. We all have inner demons that we must face, and watching characters do the same can be inspiring and cathartic.

Whatever the case, internal conflict gives the story depth and makes the characters more relatable and sympathetic. It reminds us that we are not alone in our inner struggles and that facing them head-on and even overcoming them is possible.

External Conflict

Man vs. man (aka character vs. character).

Many literary works explore the theme of man vs. man (or character vs. character conflict), which arises when two characters directly oppose each other. This can be due to rivalries, differences in opinion, or simply because two characters are after the same goal.

It can take the form of a physical confrontation, as in the case of a boxing match, or a more psychological battle, such as between two rivals vying for the same position at work.

These conflicts can be some of the most intriguing to read about, as they often lead to unexpected alliances and betrayals. Often, the stakes are high, and both parties fight for something they believe is worth fighting for.

The theme of man vs. man is often seen in stories about sports or competition, as it pits two individuals against each other in a test of skill and strength.

However, it can also be found in tales of love and hate, where two people are at odds with each other due to jealousy or some other strong emotion. In either case, the conflict between the two parties is usually intense and may have far-reaching consequences.

While this theme is certainly not unique to literature, it is a common thread that runs through many stories and poems. It is an age-old conflict that fascinates readers as it brings out the best and worst in human nature.

Man vs. Nature (AKA Character vs. Nature)

Throughout literature, there are countless stories of man pitted against nature (AKA character vs. nature).

This is when a character must contend with external natural forces beyond their control, such as bad weather, natural disasters, hostile environments, dangerous animals, or even their own physical limitations. These challenges can test a character’s resolve and force them to adapt to survive.

This type of conflict in literature often creates a sense of hopelessness and despair as the protagonist struggles against overwhelming odds.

However, they can also be used to showcase the strength of the human spirit as the protagonist battles against all odds to prevail. Whether used to create suspense or inspire hope, there is a common thread of humanity trying to triumph over the forces of nature.

Perhaps the most iconic example is the story of Robinson Crusoe , who is stranded on a deserted island and must use all his ingenuity and strength to survive.

We see a similar tale in The Call of the Wild , where a dog must learn to fend for himself in the wilderness. Even in more modern literature, such as The Hunger Games , we see the characters battling against other humans and the elements of nature itself.

Ultimately, these stories resonate with us because they speak to our deepest fears and desires. We all need to feel safe and secure, and when we read about someone overcoming seemingly insurmountable odds, it gives us hope that we can do the same.

At its core, it is all about hope, courage, and determination in the face of natural adversity.

Man vs. Society (Character vs. Society)

Man vs. society (AKA character vs. society) conflict occurs when the protagonist challenges an unjust social system or authority figure. Often, the protagonist fights against an entire group or institution, whether a government, a corporation, a school, or even the general public.

This type of story conflict can add an element of suspense and drama as the reader wonders if the protagonist will be able to overcome such overwhelming odds.

In addition, man vs. society conflicts can also be used to explore social issues and get the reader thinking about more significant problems in the world.

For example, a story about a character fighting against a corrupt government could raise awareness about political corruption or social justice.

Man vs. society conflict is a versatile narrative tool that can add suspense, drama, and depth to a story while simultaneously creating a commentary about the injustices and shortcomings of our own local and global institutions.

Man vs. Supernatural (Character vs. Supernatural)

In a Man vs. Supernatural story, the protagonist squares up against unnatural or alien forces beyond their control. This could be anything from monsters and ghosts to witches and deities. In short, anything not of our natural Earth.

The key is that the opponent is significantly more powerful than the protagonist, and the protagonist often has to rely on a combination of skill, knowledge, strength of will, and courage to prevail rather than brute force.

Supernatural conflict usually leads to a very suspenseful and exciting story as the reader wonders whether or not the protagonist will be able to overcome the odds of facing something that cannot be defeated by conventional means.

Man vs. Supernatural stories are often thrilling tales of good vs. evil that keep readers glued to the page.

Examples of Conflict in Stories

Internal conflict: character vs. self.

In J.D. Salinger’s The Catcher in the Rye , Holden Caulfield is a prime example of an individual experiencing internal conflict.

As a teenager, he is caught between childhood and adulthood, innocence and maturity. This is evident in his relationships with people, his observations of the world around him, and his own thoughts and emotions. For Holden, everything seems phony, and he longs for something real and honest.

Yet, at the same time, he is afraid of change and struggles to let go of his childhood. This conflict within himself ultimately leads to his breakdown.

Holden’s story is a resonant example of the internal conflict many people also experience as they move through real life.

External: Character vs. Character

In most stories, the protagonist is pitted against an antagonist, creating an external conflict. However, sometimes the conflict is between two characters who are equally matched. This can create a tense and suspenseful story as readers wonder who will come out on top.

A classic example of character vs. character conflict can be found in William Golding’s novel Lord of the Flies . In the book, a group of boys are stranded on an island and must fend for themselves. The conflict arises when two boys, Ralph and Jack, start vying for power.

The two are evenly matched in ability and charisma, making it impossible to predict who will emerge victorious.

External: Character vs. Nature

Character vs. nature conflict occurs when a character struggles against an outside force of nature.

This can take many forms, one of which is characters battling the elements, such as in The Perfect Storm , where a group of fishermen must fight against a raging storm at sea;

Another is when the main characters struggle against a natural disaster, such as in The Impossible , where a family must survive after being caught in a devastating tsunami;

Another form of character vs. nature is when the characters battle dangerous animals, as in The Revenant , where an 1820s fur trapper must fight for his life after being attacked by a grizzly bear.

Whatever form it takes, this type of struggle provides an opportunity for characters to showcase their strength and determination in the face of natural external forces.

External: Character vs. Society

In Harper Lee’s Pulitzer Prize-winning novel, To Kill a Mockingbird , the main character, Atticus Finch, is in conflict with the community in which he lives.

Atticus is a well-respected lawyer and moral man who believes in justice and equality for all, regardless of race. However, his town is racially divided, and the people are overwhelmingly prejudiced. This conflict is evident throughout the novel but is perhaps most apparent in the trial of Tom Robinson, a black man accused of a crime he did not commit.

Despite knowing that Robinson will almost certainly be found guilty, Atticus persists in fighting for his innocence. In doing so, he risks everything – his reputation, safety, and even his life – but never gives in.

The external conflict between Atticus and society highlights the injustice of racism and underscores the importance of standing up for what is right despite overwhelming odds.

External: Character vs. Supernatural

In Stephen King’s The Shining , the central conflict is between the protagonist, Jack Torrance, and the supernatural forces present in the Overlook Hotel.

Jack is a writer who has been struggling with alcoholism and anger issues, and he takes a job as the winter caretaker of the hotel to try to get away from it all and focus on his work. However, it quickly becomes apparent that something is not right at the Overlook.

The hotel seems to have a mind of its own, and it starts to drive Jack insane. He becomes increasingly violent and eventually tries to kill his wife and son. In the end, the family can escape, thanks mainly to Jack taking his own life in a final stand against the ghosts that have taken over the hotel.

Final Thoughts

Conflict is an integral part of any story. It creates tension and suspense and makes the reader want to keep turning the pages.

To create conflict that works, you need to understand what it is and how to use it effectively.

The tips we’ve shared should help you write compelling conflict that will keep your readers engaged and help you become a better writer!

Common Questions (FAQs)

How do you identify conflict in a story.

Look for scenes where the characters are struggling to achieve a goal. This can be an external struggle, such as overcoming an obstacle, or an internal struggle, such as dealing with a personal issue. Conflict can also arise when two characters have different goals or values. For example, if one character wants to leave a relationship but the other wants to stay, this can create tension and conflict.

What makes a good conflict in a story?

A good conflict in a story is relatable to the reader and elicits an emotional response. It should also be believable and make sense within the story’s context. Another essential aspect when you create conflict is that it should be active rather than passive. Finally, a good conflict should have a clear resolution, preferably satisfying for the reader.

What is moral conflict?

Moral conflict is an important element of storytelling as it immerses readers in a protagonist’s dilemmas. It refers to a character’s struggle between two opposing moral principles, such as truth and loyalty or lawfulness and mercy. This conflict can arise within the character, causing them to make difficult decisions. Alternatively, it can come from outside sources – people or institutions asking them to perform an action against their beliefs. Writing moral conflict adds depth to characters and effectively displays their principles.

Interested in learning more about great storytelling ? Check out these other helpful articles:

What is Pacing in a Story? Tips for Story Pacing for Writers

What are the 7 Elements of a Story? [Essentials to Include!]

How to Write a Character Backstory: Guide for Fiction Writers

Filmmaker, Author, Actor and Story Consultant

Neil Chase is an award-winning, produced screenwriter, independent filmmaker, professional actor, and author of the horror-western novel Iron Dogs. His latest feature film is an apocalyptic thriller called Spin The Wheel.

Neil has been featured on Celtx, No Film School, Script Revolution, Raindance, The Write Practice, Lifewire, and MSN.com, and his work has won awards from Script Summit, ScreamFest, FilmQuest and Cinequest (among others).

Neil believes that all writers have the potential to create great work. His passion is helping writers find their voice and develop their skills so that they can create stories that are entertaining and meaningful. If you’re ready to take your writing to the next level, he's here to help!

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Posted on Jul 14, 2023

What is Internal Conflict? (with Examples and Writing Tips)

Internal conflict in literature is the struggle between a character’s values or desires and their goals. Though this conflict may arise from external conditions where the character must choose between a sense of duty towards others and their own true wants and needs, they are, in the end, fundamentally about the battle that goes on inside a character's heart and mind. 

Much like external conflict, internal conflict adds stakes and allows the reader to emotionally invest in a story. In this post, we dive deeper into what internal conflict is and how it can elevate your writing.

Internal conflict deepens the story

When we think of conflict, often the first thing that comes to mind are external ones. Antagonists , the forces of nature, societal rules, and many more form the basis of many tales, providing our heroes with obstacles and driving the plot forward. Seeing how characters overcome these challenges is part of the appeal, but it’s more important to see how these challenges affect them personally — and that’s where an external conflict can become an interior one. 

Will an obstacle in their journey make them question their own ideals and morals? Will they reassess who they are and what drives them? Essentially, what effect does their problem have on their internal lives, and will it possibly change them forever? This adds another layer to the story and can give it deeper meaning. 

Tip: Use your internal conflict to highlight the external conflict

Combining your external conflict with your internal conflict is an effective way to add greater depth to a story.

For a great example of external conflict mirroring a character’s inner struggle, look no further than Rocky. On the surface, it’s a movie about an underdog boxer going up against the world champion, but part of its long-lasting appeal is that it’s also a story about self-worth. 

Rocky’s external struggle is the physical strain of his training, while his internal one is something deeper. It underpins his journey to the prize fight and gives it greater stakes — he’s not just fighting for prize money but for his own sense of self. In the run-up to the big fight, Rocky has moments of doubt and wonders if he’s simply setting himself up for embarrassment. This complements the physical struggle he undergoes while training for the prize fight and gives his actions a greater weight. 

Internal conflict isn’t just an important part of character building, it also impacts the direction of the plot.

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It gives your plot stakes and long-lasting consequences

A character’s internal conflicts influence their actions and decisions. A hero who believes the best of people might have their trust betrayed by the wrong person, making a plot beat that much more significant. A firefighter’s feelings for their family back home could make their rescue mission that much more precarious, and the risks they’re taking more keenly felt. Internal conflict functions as another way to add stakes to your story: what will happen to our hero if they don’t change their ways? What are the consequences if they don’t achieve their goal?

Tip: Give your character a flaw that they struggle with 

The most memorable figures in literature all have character flaws . No one is perfect, least of all your main character, and their less-than-stellar traits will have them making decisions that have consequences — some of which might create a domino effect of new problems. 

Ursula K. Le Guin’s A Wizard of Earthsea centers on a young man named Ged, whose journey to becoming a great wizard is often stymied by his pride. When he’s challenged by a peer, Ged’s hubris leads him to attempt a resurrection of a sorceress. Instead, he creates a shadow that kills another wizard and threatens Ged at every turn for the rest of the novel. This critical character flaw influences the course of the plot and raises the stakes as Ged continues down a dangerous path to either prove himself or fix his mistakes, dealing with internal conflict between his arrogant impulses and his newfound fears. 

On a larger scale, internal conflict impacts the themes and overall meaning of your story.

It turns a specific story into something universal

On the surface, a story might be about one thing: defeating the evil wizard, regaining one’s rightful control of the throne, or getting the girl (or guy). But no matter what kind of tale you’re telling, readers love it when you hit on ideas that are familiar to them, even if they don’t relate to the exact situation. There’s no better way to do that than by giving your characters internal conflicts that people know from their own lives. 

We might not know what it feels like to fight dragons or be a world leader, but we can understand the struggle between doing what’s right and doing what’s convenient or self-serving.

Tip: Ground your stories by giving your characters relatable internal conflicts

The universality of internal conflicts can make your story more relatable, which is especially useful if you’re writing speculative fiction. 

Terry Pratchett does this masterfully in his Discworld series set in an outlandish fantasy world. In Guards! Guards!, we follow Samuel Vimes — captain of the severely underfunded Ankh-Morpork City Watch — as he tries to keep a dragon from destroying the city and overthrowing the government. But that’s only half the story. Along the way, Vimes also struggles with his sense of duty as a Watchman, his pessimistic nature, and the ideals that he held as a younger man. These internal conflicts ground his story, making it familiar and relatable to the reader in an unfamiliar world.

With these tips and examples under your belt, you should now have a good grasp on what internal conflict is and how authors can use it in their story. In the next part of this guide, we’ll focus in on external conflict to show you how, when combined with inner struggles, it can elevate a narrative and create a well-rounded and compelling tale.

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So much is at stake in writing a conclusion. This is, after all, your last chance to persuade your readers to your point of view, to impress yourself upon them as a writer and thinker. And the impression you create in your conclusion will shape the impression that stays with your readers after they've finished the essay.

The end of an essay should therefore convey a sense of completeness and closure as well as a sense of the lingering possibilities of the topic, its larger meaning, its implications: the final paragraph should close the discussion without closing it off.

To establish a sense of closure, you might do one or more of the following:

• Conclude by linking the last paragraph to the first, perhaps by reiterating a word or phrase you used at the beginning.
• Conclude with a sentence composed mainly of one-syllable words. Simple language can help create an effect of understated drama.
• Conclude with a sentence that's compound or parallel in structure; such sentences can establish a sense of balance or order that may feel just right at the end of a complex discussion.

To close the discussion without closing it off, you might do one or more of the following:

• Conclude with a quotation from or reference to a primary or secondary source, one that amplifies your main point or puts it in a different perspective. A quotation from, say, the novel or poem you're writing about can add texture and specificity to your discussion; a critic or scholar can help confirm or complicate your final point. For example, you might conclude an essay on the idea of home in James Joyce's short story collection,  Dubliners , with information about Joyce's own complex feelings towards Dublin, his home. Or you might end with a biographer's statement about Joyce's attitude toward Dublin, which could illuminate his characters' responses to the city. Just be cautious, especially about using secondary material: make sure that you get the last word.
• Conclude by setting your discussion into a different, perhaps larger, context. For example, you might end an essay on nineteenth-century muckraking journalism by linking it to a current news magazine program like  60 Minutes .
• Conclude by redefining one of the key terms of your argument. For example, an essay on Marx's treatment of the conflict between wage labor and capital might begin with Marx's claim that the "capitalist economy is . . . a gigantic enterprise of dehumanization "; the essay might end by suggesting that Marxist analysis is itself dehumanizing because it construes everything in economic -- rather than moral or ethical-- terms.
• Conclude by considering the implications of your argument (or analysis or discussion). What does your argument imply, or involve, or suggest? For example, an essay on the novel  Ambiguous Adventure , by the Senegalese writer Cheikh Hamidou Kane, might open with the idea that the protagonist's development suggests Kane's belief in the need to integrate Western materialism and Sufi spirituality in modern Senegal. The conclusion might make the new but related point that the novel on the whole suggests that such an integration is (or isn't) possible.

Finally, some advice on how not to end an essay:

• Don't simply summarize your essay. A brief summary of your argument may be useful, especially if your essay is long--more than ten pages or so. But shorter essays tend not to require a restatement of your main ideas.
• Avoid phrases like "in conclusion," "to conclude," "in summary," and "to sum up." These phrases can be useful--even welcome--in oral presentations. But readers can see, by the tell-tale compression of the pages, when an essay is about to end. You'll irritate your audience if you belabor the obvious.
• Resist the urge to apologize. If you've immersed yourself in your subject, you now know a good deal more about it than you can possibly include in a five- or ten- or 20-page essay. As a result, by the time you've finished writing, you may be having some doubts about what you've produced. (And if you haven't immersed yourself in your subject, you may be feeling even more doubtful about your essay as you approach the conclusion.) Repress those doubts. Don't undercut your authority by saying things like, "this is just one approach to the subject; there may be other, better approaches. . ."

Copyright 1998, Pat Bellanca, for the Writing Center at Harvard University

Essays About Conflict in Life: Top 5 Examples and Prompts

Conflict is a broad and gripping topic, but most struggle to write about it. See our top essays about conflict in life examples and prompts to start your piece.

Conflict occurs when two people with different opinions, feelings, and behaviours disagree. It’s a common occurrence that we can observe wherever and whenever we are. Although conflicts usually imply negative aspects, they also have benefits such as stronger relationships and better communication.

To aid you in your paper, here are five examples to familiarize you with the subject: 

1. Useful Notes On 4 Major Types Of Conflicts (Motivational Conflict) By Raghavendra Pras

2. encountering conflict by julius gregory, 3. complete guide to understanding conflict and conflict resolution by prasanna, 4. analysis of personal conflict experience by anonymous on gradesfixer, 5. personal conflict resolving skills essay by anonymous on ivypanda, 1. conflict: what is and how to avoid it, 2. conflicts in our everyday lives, 3. review on movies or books about conflicts, 4. actions and conflicts , 5. conflicts at home, 6. conflicts that changed my life, 7. my personal experience in covert conflict, 8. cascading conflicts, 9. how does conflict in life benefit you, 10. the importance of conflict management.

“Conflict… results when two or more motives drive behaviour towards incompatible goals.”

Pras regards conflict as a source of frustration with four types. Experimental psychologists identified them as approach-approach, avoidance-avoidance, approach-avoidance, and multiple approach-avoidance. He discusses each through his essay and uses theoretical analysis with real-life examples to make it easier for the readers to understand.

“The nature of conflict shows that conflict can either push people away or bring them into having a closer, more comfortable relationship.”

The main points of Gregory’s essay are the typical causes and effects of conflicts. He talks about how people should not avoid conflicts in their life and instead solve them to learn and grow. However, he’s also aware that no matter if a dispute is big or small, it can lead to severe consequences when it’s wrongly dealt with. He also cites real-life events to prove his points. At the end of the essay, he acknowledges that one can’t wholly avoid conflict because it’s part of human nature.

“…it is important to remember that regardless of the situation, it is always possible to resolve a conflict in some constructive or meaningful way.”

To help the reader understand conflict and resolutions, Prasanna includes the types, causes, difficulties, and people’s reactions to it. She shows how broad conflict is by detailing each section. From simple misunderstandings to bad faith, the conflict has varying results that ultimately depend on the individuals involved in the situation. Prasanna ends the essay by saying that conflict is a part of life that everyone will have to go through, no matter the relationship they have with others. 

“I also now understand that trying to keep someone’s feelings from getting hurt might not always be the best option during a conflict.”

To analyze how conflict impacts lives, the author shares his personal experience. He refers to an ex-friend, Luke, as someone who most of their circle doesn’t like because of his personality. The author shares their arguments, such as when Luke wasn’t invited to a party and how they tried to protect his feelings by not telling Luke people didn’t want him to be there. Instead, they caved, and Luke was allowed to the gathering. However, Luke realized he wasn’t accepted at the party, and many were uncomfortable around him.

The essay further narrates that it was a mistake not to be honest from the beginning. Ultimately, the writer states that he would immediately tell someone the truth rather than make matters worse.

“To me if life did not have challenges and difficult circumstances we were never going to know the strength that we have in us.”

The essay delves into the writer’s conflicts concerning their personal feelings and professional boundaries. The author narrates how they initially had a good relationship with a senior until they filed for a leave. Naturally, they didn’t expect the coworker to lie and bring the situation to their committee. However, the author handled it instead of showing anger by respecting their relationship with the senior, controlling their emotion, and communicating properly.

10 Helpful Prompts On Essays About Conflict in Life

Below are easy writing prompts to use for your essay:

Define what constitutes a conflict and present cases to make it easier for the readers to imagine. To further engage your audience, give them imaginary situations where they can choose how to react and include the results of these reactions. 

If writing this prompt sounds like a lot of work, make it simple. Write a 5-paragraph essay instead.

There are several types of conflict that a person experiences throughout their life. First, discuss simple conflicts you observe around you. For example, the cashier misunderstands an order, your mom forgets to buy groceries, or you have clashing class schedules. 

Pick a movie or book and summarize its plot. Share your thoughts regarding how the piece tackles the conflicts and if you agree with the characters’ decisions. Try the 1985 movie The Heavenly Kid , directed by Cary Medoway, or Where the Conflict Really Lies: Science, Religion, and Naturalism by philosopher Alvin Plantinga.

In this essay, describe how actions can lead to conflict and how specific actions can make a conflict worse. Make your essay interesting by presenting various characters and letting them react differently to a particular conflict.

For example, Character A responds by being angry and making the situation worse. Meanwhile, Character B immediately solves the discord by respectfully asking others for their reasons. Through your essay, you’ll help your readers realize how actions significantly affect conflicts. You’ll also be able to clearly explain what conflicts are.

Your home is where you first learn how to handle conflicts, making it easier for your readers to relate to you. In your essay, tell a story of when you quarreled with a relative and how you worked it out.  For instance, you may have a petty fight with your sibling because you don’t want to share a toy. Then, share what your parents asked you to do and what you learned from your dispute.

If there are simple conflicts with no serious consequences, there are also severe ones that can impact individuals in the long run. Talk about it through your essay if you’re comfortable sharing a personal experience. For example, if your parents’ conflict ended in divorce, recount what it made you feel and how it affected your life.

Covert conflict occurs when two individuals have differences but do not openly discuss them. Have you experienced living or being with someone who avoids expressing their genuine feelings and emotions towards you or something? Write about it, what happened, and how the both of you resolved it.

Some results of cascading conflict are wars and revolutions. The underlying issues stem from a problem with a simple solution but will affect many aspects of the culture or community. For this prompt, pick a relevant historical happening. For instance, you can talk about King Henry VIII’s demand to divorce his first wife and how it changed the course of England’s royal bloodline and nobles.

People avoid conflict as much as possible because of its harmful effects, such as stress and fights. In this prompt, focus on its positive side. Discuss the pros of engaging in disputes, such as having better communication and developing your listening and people skills.

Explain what conflict management is and expound on its critical uses. Start by relaying a situation and then applying conflict resolution techniques. For example, you can talk about a team with difficulties making a united decision. To solve this conflict, the members should share their ideas and ensure everyone is allowed to speak and be heard.

Here are more essay writing tips to help you with your essay.

Maria Caballero is a freelance writer who has been writing since high school. She believes that to be a writer doesn't only refer to excellent syntax and semantics but also knowing how to weave words together to communicate to any reader effectively.

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What Makes Conflict? How Are Conflicts Resolved?

Couples do best when both partners have strong conflict resolution skills..

Posted November 14, 2012 | Reviewed by Devon Frye

Why Conflict Is Healthy for Relationships By Elizabeth Dorrance Hall Ph.D.

Conflict is a term that refers to situations in which two or more sides appear to be pulling or pushing in opposing directions.. If the participants stay calm and friendly, we might refer to their way of dealing with the conflict as shared problem-solving . If tensions emerge or anger escalates, the terms arguments or fights may be a better fit.

In these sensitive situations, do you sometimes find yourself insisting on what you want? Do you hold back from verbalizing your perspective on some issues for fear that the conflict will erupt into a fight?

This article explains how to address differences, ie, to deal with conflict, in a way that yields satisfaction for everyone involved. This same collaborative conflict resolution strategy can be used at home, at work, with friends, in business, in politics —in any venue where both parties would prefer to convert their conflicts into effective win-win problem-solving.

Where do conflicts emerge?

As I explain in my book From Conflict to Resolution , conflicts can emerge in any of three realms:

(1) within oneself (which therapists refer to as intrapsychic conflict),

(2) between oneself and one or more others, and

(3) between oneself and a circumstance (e.g., illness, financial difficulties).

Often a conflict has aspects in two or even all three of these realms. For instance, If "Joe" feels conflicted about whether to leave his job, he is likely to experience conflicts within himself—his current salary is great and at the same time, the hours are too long. If a loved one wants Joe to stay and he wants to leave his current job, the conflict has become interpersonal. And if Joe develops an illness, what he wants and the realities of what he needs to do to heal his health problem may conflict.

What causes conflicts to yield fights?

Collaborative dialogue skills are essential to the resolution process. Without the necessary skills, adversarial stances, tension, and anger can make a win-win outcome unlikely.

Bickering, arguing, or getting insistent indicate someone who is unskilled at handling conflicts in a collaborative way. So does going silent about your perspective. Talking in an irritated tone of voice, becoming insistent on your way, ignoring what the other person says, blaming, attacking, and using anger to bully others into doing what you want or, heaven forbid, going to war, all indicate collaborative dialogue skill deficits.

Conflict resolution also takes knowledge of the three-step resolution process. Without clarity about these three steps, participants are likely to end up in a tug-of-war for whose way will win and who will lose. This kind of adversarial process gets settled by who has more power, unlike the win-win plan of action that is the goal of collaborative conflict resolution.

How can you tell when there is a conflict afoot?

Emotional discomfort—that is, negative emotions—alert you to the reality that a situation of conflict is occurring.

Any time two or more people need to pick a shared course of action, they are at risk for experiencing conflict. Decisions, therefore, are one danger point .

Similarly, seeing a situation differently and/or wanting different outcomes can also provoke conflict.

Fortunately, there are ways to disagree that prevent conflicts from emerging in these situations. (I write about these in my post " How To Disagree Agreeably. "

The 3 Steps of Collaborative Conflict Resolution

To settle a disagreement without getting mad, sad, or anxious , take the following three steps:

• Recognize that there is a problem that needs to be solved by noting differing ideas of what to do.
• Explore the underlying concerns.
• Create a mutually agreeable solution.

For this 3-step process to proceed effectively, participants need to feel as if they are sitting on the same side of the table facing the problem rather than as opponents sitting across from each other. Sustaining a friendly and cooperative attitude is essential.

What would these steps of conflict resolution look like for addressing a real problem?

Jim and Barbara were a couple in my therapy practice who disagreed about what to do on their summer vacation. Their usual disagreement strategy had been to argue over my, way, no my way until one gave up, gave in, and was left feeling depressed and resentful. Collaborative conflict resolution was new for them.

STEP 1: Note Differing Ideas of What to Do

Recognize that there is a problem that needs to be solved. Usually, that recognition comes when two or more people are each advocating for different action plans.

To begin a process of conflict resolution, Jim and Barbara had to recognize that they had hit a conflict. The conflict had arisen because they need to make a decision together. Becoming irritated, Jim was tempted to continue in bickering mode. Jim responded positively though when I suggested that the rising tension indicated an opportunity to use their new three steps of conflict resolution.

Jim: Let’s take a trip to Peking this summer. I want to travel and explore.

Barbara: (Feeling alarmed) That's what I was afraid you would say. Not me. Travel sounds totally unappealing to me. I'd prefer to just stay home.

Jim : So where do we go from here? If I want to travel and you want to stay home, we're stuck already.

Thus the first step in moving forward toward resolving a conflict consists of both sides saying what is initially on their minds with regard to what they want to do. Both sides speak and both listen to the other, even though what they want seems to be in conflict.

Danger: Participants who at this point head straight for the third step, finding solutions, will find themselves locked in a tug-of-war, a power struggle over whose way will prevail. Far better to note the conflicting ideas and therefore proceed immediately to step two.

STEP 2: Explore the Underlying Concerns.

This second step requires a shift from talking about actions—the solution that each participant has proposed—to exploring the underlying concerns . Concerns are the factors that have motivated each person's initial suggestions. Concerns are desires, fears, and other factors that matter to you in a given situation.

All the concerns, that is, the concerns of both or all the participants, go on one list. Any concern of one party that way becomes a shared concern.

Jim: I was thinking of an exploring vacation because I want to be physically active during our time off. At my job, I sit at my desk all day. On my vacation, I'd like to move around, to walk long distances, to meet new people. Besides, seeing new places and meeting new people feels invigorating, fun.

Barbara: That makes sense to me, that you want physical activity. And I agree that new is often fun. As for me, I want to stay home because I've been working such long hours. I want to rest. I want to relax, slow down, and recuperate. I also would love time to read, since I have so little time to read most of the year.

STEP 3: Create a Mutually Agreeable Solution

Finding solutions can be launched by summarizing aloud all the items on the concerns list.

Each participant then offers a modification of their original suggested solution, or new ideas altogether, so that the plan of action is responsive to their concerns and also to the partner's concerns.

The resolution brings a sense of calm, closure, and mutual satisfaction when a plan of action includes elements responsive to each and all of the underlying concerns of both parties.

Jim: So I want to be able to move around a lot, walk, see new sights, and meet new people. You want to be able to sit still, read, and relax. How about if we go to a beach resort? You can sit and relax on the beach; I can do beach sports like surfing or volleyball and take long suns along the shoreline. You can relax alone in the sun. I can meet the people participating in sports with me. We can go to a place that is new for us, and with a lot of activity options which I would like. That way we could stay in one place which you would prefer. and where you can do activities that are restful for you.

Barbara: Sounds perfect! Sometimes I'd be glad too to go for long walks with you. And I would be okay with flying to a new place if once we arrive I can mostly just sit on the beach. That actually sounds even better than staying home.

Note that even though this couple's eventual solution was different from the initial suggestions of either of them, because the plan of action was responsive to the concerns of both people, it felt good—better even for both of them than either of their first ideas. That is, the solution was “win-win”—not because one or both of them "got their way," but because the solution was responsive to the underlying concerns of both of them.

Conclusions

While the dilemma above was a relatively simple conflict to resolve, the same three steps apply to any conflict, simple or complex. Note too that the three steps described above apply to solving conflicts that have occurred within any of the three potential conflict realms: within one person’s wishes, fears, or values; between people; or between people and difficult circumstances.

Staying on pathways of collaborative communication keeps the conflict resolution process moving forward. Communication errors like blame, criticism or dismissive listening can throw the process off track. Similarly, slippage into a tone of voice that conveys a negative attitude—for example, contempt, irritation, sarcasm, or anger—also risks triggering a stance of adversarial conflict.

Collaborative dialogue plus cooperative conflict resolution skills make people more effective and productive at work and enable them to live more harmoniously as families, They create a peaceful and harmonious way of living in the world. Sound worth a try?

To learn more about how to handle conflict in ways that enhance your relationships, check out Dr. Heitler's books and website .

Susan Heitler, Ph.D ., is the author of many books, including From Conflict to Resolution and The Power of Two . She is a graduate of Harvard University and New York University.

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At any moment, someone’s aggravating behavior or our own bad luck can set us off on an emotional spiral that threatens to derail our entire day. Here’s how we can face our triggers with less reactivity so that we can get on with our lives.

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