which is not a type of conflict in creative writing

• Features for Creative Writers
• Features for Work
• Features for Higher Education
• Features for Teachers
• Features for Non-Native Speakers
• Learn Blog Grammar Guide Community Events FAQ
• Grammar Guide

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!

Do you know how to craft memorable, compelling characters? Download this free book now:

Creating Legends: How to Craft Characters Readers Adore… or Despise!

This guide is for all the writers out there who want to create compelling, engaging, relatable characters that readers will adore… or despise., learn how to invent characters based on actions, motives, and their past..

Be confident about grammar

Check every email, essay, or story for grammar mistakes. Fix them before you press send.

Gina Edwards is a writer, retreat leader, certified creativity coach, and editor. Through retreats, group coaching, and the community Women Writing for CHANGE, she provides safe spaces for women writers—aspiring and published—to claim their voices, write their stories, and leave their legacies. Gina, her clients, and her writer-friends are on a collective mission to positively impact the world through their written words.

Get started with ProWritingAid

Drop us a line or let's stay in touch via :

• Writing & Editing

7 Different Types of Conflict in Literature with Examples

In literature, even in its earliest forms, conflict is a crucial and major narrative element. Alongside other literary components, conflict helps develop the story and propels the overall storyline.

It is what brings spice and entertainment value to the story. Writers are always faced with the conundrum of creating a story that is compelling and interesting. Here are 7 types of conflict in literature to use in your writing: 

• Man vs. Man
• Man vs. Himself
• Man vs. Destiny
• Man vs. The Elements
• Man vs. The Unknown
• Man vs. Society
• Man vs. Technology

The use of conflict, if melded well in the narrative, is a handy literary technique to address this entertainment aspect.

Now, let’s delve into what conflict is and its importance in writing a story.

What Is Conflict in Literature?

Conflict is a literary device in the literature that shows the struggle between two opposing factors. The conflict is meant to create tension within the story and move the story along.

There are two categories of conflict, which are internal and external conflicts. The internal conflict takes place in the character’s mind while the external conflict comes from outside forces.

These external conflicts usually come in the form of antagonists or uncontrollable circumstances.

1. Man vs. Man

The man vs. man type of conflict pits two characters against one another. This is a very popular type of conflict because it compels the two characters to face off during the climax of the story.

It is this upcoming event that puts spice into the man vs. man type of conflict.

The Iliad. The Iliad is one of the earliest written works that humanity has ever known, and it centers on the epic Trojan War. At the very center of this conflict were two warriors—Achilles and Hector.

Achilles was a warlord who fought for the Greeks while Hector was the prince of Troy. Achilles was a conqueror of men—proud—and a lover of war.

Whereas Hector was a defender of his people and only wished to save his beloved nation from the predations of marauding Greeks.

Both men were sublime warriors, but that is where the similarities end. Both men are also fated to meet in a climactic battle where only one man lives.

2. Man vs. Himself

The man vs. himself type of conflict pits the main character against his or her own impulses and inner demons. This type of conflict creates a more introspective read and pits the main character against his or her own inner demons.

Crime and Punishment. One of the best examples of man vs. himself is Fyodor Dostoevsky’s classic book Crime and Punishment.

The story follows the moral quandaries of a former law student named Rodion Romanovich Raskolnikov. He lives in poverty and hates a pawnbroker who he considers a very greedy and detestable person.

He kills her and steals her belongings. He soon goes on an introspective journey where he wrestles with his inner demons.

3. Man vs. Destiny

The “man vs. destiny” conflict pits the main character against destiny itself. The main concept for this type of conflict is that the main character is fated to fulfill a certain action and strives to change his or her destiny.

Oedipus Rex. One of the most famous examples of man vs. destiny is the myth of Oedipus. Born the son of Laius the king, he was prophesied to kill his father.

Fearing for his life, the king has Oedipus sent away to be killed. However, he survives and is adopted by a shepherd, and later raised as the son of another king.

Years later, while on a journey, Oedipus meets an old man and his servants. They get into an argument, and he accidentally kills the old man. The old man turns out to be Laius, his real father.

4. Man vs. The Elements

The “man vs. elements” conflict pits the main character against nature. This type of conflict uses nature as the central antagonist.

Robinson Crusoe. The story of Robinson Crusoe follows the adventures of a young man named Robinson Crusoe who is shipwrecked and marooned on a deserted island.

He faces a life of hardship and loneliness. He is a castaway with only his dogs and farm animals for company. He also has to inhabit a land where the flora and fauna are unknown to him.

5. Man vs. The Unknown

The “man vs. the unknown” concept pits the main character against the unknown nature of life itself. This type of conflict gives your story a more foreboding feel.

Kafka on the Shore. Renowned author Haruki Murakami’s immersive story follows the journey of a young teenaged boy named Kafka who runs away from home. The story has a metaphysical feel that uses various unknown forces as the conflict in the book.

6. Man vs. Society

This type of conflict pits the main character against society as a whole. With this type of conflict, society is usually portrayed as corrupt and is the main evil in the story.

The main character must strive to change or at least survive in this corrupt society.

Les Miserable. This classic by Victor Hugo follows the story of Jean Valjean, an ex-convict who makes his fortunes and becomes the mayor of a town. However, despite reaching such a lofty post, his past as an ex-convict still haunts him.

7. Man vs. Technology

This type of conflict pits the main character against technological advancements. The main concept for this kind of conflict is that despite technology’s incredible advantages, there is still a dark side to it.

1984. This classic by George Orwell takes place in the year 1984. It is a dystopian future ravaged by war and civil strife.

The world is now under a totalitarian regime where everyone is forced to adhere to the regime’s rules. The regime uses television screens, cameras, and hidden microphones to keep tabs on the people.

How to Use Conflict in a Story

The ingenuity of a writer in building a storyline varies; some have a solid idea from the beginning while others let the plot present itself as they are writing it.

Regardless of one’s process and writing technique, these tips can be handy in introducing conflict in your story.

1. Creative writing prompts for creating conflict

Aside from knowing the types of conflict, you will also need to use creative writing prompts in order to pull off your conflict properly. If you are going to write writing prompts for your conflict, it does not have to be overly long.

What’s important is that you have a list of writing prompts. Write whatever comes to mind and use your imagination freely.

2. Base your conflict choice according to your genre

When it comes to writing conflict for your story, you should base it according to the genre you are writing in. For example, if you are going to write a story about survival, then you could use the man vs. nature type of conflict.

On the other hand, if you are going to write a book about warfare, then you could use the man vs. man or man vs. society kind of conflict.

3. Your characters are a key element for your conflict choice

Yet another aspect to take into account is your characters. Make sure to create compelling characters and flesh them out.

After fleshing them out, you should make conflicts that will truly challenge your characters. The more difficult the conflict to deal with, the more compelling your story will be.

4. Your antagonist is key to creating great conflict

If you want to enhance your story further, you should write great antagonists. Remember that your antagonist is the main source of conflict within your story.

Take the time to fully flesh out your antagonist and strategically place him or her in your story.

Writing is a skill inasmuch as it is knowledge; it takes constant practice to get better at it as well as understanding to master the art.

Learning the fundamental and basic literary elements, such as conflict, can help you, as a writer, develop your own unique style and content.

Become a Self-Published Author in 3 Simple Steps

Powered by Experts, Published by You. Reach 40,000+ Retailers & Libraries Around the World. Concierge Service. Tailored Packages. BBB Accredited Business. 100% Royalty Program.

Related Articles

When it comes to being an effective and efficient writer, it is important that you hone your writing skills to the best of your ability. No matter how good a writing idea...

Ever thought if your story is not good enough to outshine other bestselling books? Or maybe the real question is, is my story interesting enough to hype up the audience?

Get started now

Privacy Policy: Writers Republic will not give, sell, or otherwise transfer addresses to any other party for the purposes of initiating, or enabling others to initiate, electronic mail messages.

Privacy Policy

Privacy commitment to our authors, effective date:.

Writers Republic abides to every author’s personal information being entrusted to us. And with that, we have stipulated a privacy policy that will show the processes of our ways in collating our clients’ personal details as needed in the publication process. As an established publishing company, our prohibitions strictly includes sharing, selling, or any illicit transactions of personal information from our clients.

Personal Details Needed:

• b) E-mail Address
• c) Phone Number(s)
• d) Physical/Billing Address
• e) Book Information

Authors can find our privacy policy through all forms of compiled and submitted information to either the company’s employees, through e-mail and phone, or from our website www.writersrepublic.com.

Information Usage

The use of the author’s personal information will take place in completing registrations, necessary materials to be used in publication arrangements with our specialists, and payment transactions that will be accomplished from our services and packages.

Registration Process

Users must fill out and complete any registration form before they can access anywhere in the Site as they wish to. These include the services, promos, blogs, and rest of the facets they can explore once they are registered to the system. The authors are entitled to a free publishing guide to give you a brief idea about self-publishing. Relevant features also include the Authors’ Lounge that teaches you some publishing tips you will be needing during the procedure.

Providing the user’s contact information like his/her name and email address during the registration will be necessary for our specialists in keeping in touch with the client anytime in regards to the manuscript submission, publishing, and finally, expanding his/her book’s publicity by any means. Our registered authors are free from accessing the website with his/her personal data or they may reach our customer service representatives through telephone or e-mail for further information and updates on our services. Aforementioned, all of the author’s personal data submitted to us will be kept confidential.

Information Sharing

Sharing of the client’s personal data to third parties is considered a violation unless it is conducted in a way it is indicated strictly in the privacy policy. Authors must understand that we are required to provide their personal data to other businesses that will to provide the required assistance in succeeding the publishing procedure, the following involves payment processor or a third party vendor benefit. These associated firms has established the consent to use the client’s personal data for necessary purposes of providing a quality service to Writers Republic.

In any case that Writers republic will conduct a union with associated companies, procurement, or sale of all or a share of its properties, authors will be notified through a notice in our website or sent through email of any ownership change or the utilization of the user’s personal data, in addition to the selections provided regarding his/ her personal information.

The company solely shares the collected information to the firms we do business with to acquaint them with the services or assistance needed for the publication. The data required plainly comprises with order completion, payment transactions, and the rest of the necessary processes. We can guarantee our users that the submission of these information will not be concomitant to any confidentialities that will identify a person’s identity. Privacy rules include prohibitions of sharing, or keeping of any private information for unrelated businesses to our company.

Data Protection

Our authors’ confidentiality comes first all the time. We follow the widely accepted preference in safekeeping the user’s personal data during its transmission and by the moment it is stored in our system. Writers Republic ensures both online and offline security of all information provided by our authors through the website. Any electronic transmittal over the internet may not be overall safe, hence the company cannot commit to an absolute protection.

The client’s agreement entails his/her responsibility in sustaining the account access, any personal information, benefits, company’s services, logins, and passwords. The author’s adherence to these sanctions include acquainting Writers Republic through phone, e-mail, or any means of communication, should there be any inadmissible access to the author’s account and all the applicable company data and services. Any direct, involuntary, minor, or distinctive damages caused due to client’s failure to adhere and/or inefficiency in utilizing the company’s site, services, and transactions will not be held liable to Writer’s Republic.

Any messages received or consequences resulted due to the user’s technical unfamiliarity or insufficient knowledge will not be held accountable to Writers Republic. Furthermore, any damages incurred due to negligence to the information entered or impermissible access will leave no liability to the company. These reparations may denote to but not restricted to revenue loss or reduced profit from the entire process.

Electronic Tracking Tools and Site Traffic Usage

Writers Republic website collects SSI (Standard Statistical Information) about the site visits and keeps a record of it as much as other websites do. Please be advised that the IP addresses, browser information, its timestamps, and referred pages are tracked for the sole purpose of maintenance and to construct the site noticeable and valuable as it can be. No accumulated data is joined routinely to other information we collect from our users.

The site server gathers fundamental technical data from our site visitors which include their IP address, domain label, and referral information. Alongside with the said above, the site also tracks the total count of the site activity from our online visitors for the intention of analyzing the flows of our site traffic. For our statistic intents, we may incorporate the information from one visitor with another into group facts, which will probably be shared on a cumulative base.

The technologies in particular: beacons, cookies, tags, and scripts are utilized by writersrepublic.com, our publishing & marketing associates, publicity service providers. These innovations are used in examining trends, website managing, tracking users’ navigation anywhere on the site and to collect public data about our user in entirety. We may obtain news founded on the utilization of these innovations by these firms on an individual as well as on an accumulated basis.

Writers Republic affiliates with third parties to offer positive features on website or to exhibit advertising based upon your web navigation activity also uses Local Storage Objects (LSOs) such as HTML 5 to gather and keep some data. Browsers may provide their own administrating tools in taking out HTML LSOs. To manage LSOs please click the link provided: http://www.macromedia.com/support/documentation/en/flashplayer/help/settings_manager07.html

Removing or Updating Your Information

Don’t hesitate to reach us directly anytime when you want to delete, update, or correct information you give over the phone or e-mail. For safety purposes, Writers Republic takes functional regulations in authenticating your identity before we grant you the access in changing and updating personal details. Your personal record and other data will be kept so long as you stay active as our site user or as necessary to offer you services. Please note that we’ll be using your information for necessary compliance of lawful commitments, imposing of agreements, and determination of disputes.

Contributors

Writers Republic will be requiring your contributors’ names to be indicated in the book publication when you opt to add them as contributors for your book publishing service. We will store your contributors’ personal details for the sole purpose of fixing their names on one of the pages of your book. Your contributors may reach us at [email protected] to request for removal of personal information from our system.

3rd Party Sites Link

Our company recommends you to carefully go over to the privacy policy of any website you visit or send personal information to. Our website comprises links to other sites whose norms and privacy regulations may contrast to ours. Accordingly, providing of personal data to these websites is administrated by their privacy rules and not ours.

Social Media Features & Widgets

Writers Republic website involves social media features such as: Facebook “Like” button and widget, such as the interactive mini-programs that run on our site or the “Share This” button. Please note that these features may set a cookie to allow the feature to appropriately function. It may also collect your IP address and which page you are visiting on our site. Your interactions with these features are either presented directly on our website or by a third party.

Announcements and Newsletters

Writers Republic will be inquiring your e-mail address if you’re interested to subscribe from our self-publishing updates, newsletters, articles, or periodic product and service announcements. You may choose to unsubscribe by clicking on the “Unsubscribe” button at the end part of the mail sent to you should you no longer want to receive emails from us.

Discounts and Promos

We offer promos and special deals on out publishing and marketing services from any given point of time. Thus, we may request for your contact details that includes your name, shipping address, demographic data, and educational attainment which will be utilized to inform the winners and prizes. Participation in any contest and promo is voluntary. The purpose for our promos, discounts, and contests, will be employed to assess and enhance eminence of or services to our clients.

Policy Changes

Any modifications or changes to be applied in our Privacy Policy will oblige Writers Republic to provide a notice on the website or by email before the change will take effect. Therefore, we recommend you to go over this page for any probable alterations and updates on our privacy norms. You may send us an email at [email protected] for all concerns, queries, and updates of personal details such as your email and mailing address. This also serves as your alternative to reach us if you want to withdraw your service or if you no longer want to receive any updates from our end.

Writers Republic will not be held accountable for any check payment issues, apart from the checks that are delivered to the address indicated below.

Writers Republic Publishing 515 Summit Ave. Unit R1, Union City, NJ 07087, USA

VIDEO COURSE

Finish your draft in our 3-month master class. Sign up now to watch a free lesson!

Learn How to Write a Novel

Finish your draft in our 3-month master class. Enroll now for daily lessons, weekly critique, and live events. Your first lesson is free!

Guides • Perfecting your Craft

Posted on Jun 03, 2021

How to Create Conflict in a Story (with 6 Simple Questions)

3Conflict is so ubiquitous that it can be hard to pinpoint. It’s rarely something tangible or concrete. In literature, it can take so many different forms that there’s no single best way to find the conflict in a story. And yet, there are some basic steps that any reader or writer can take to demystify conflict. 

If you haven’t checked out our post on external vs. internal conflict or our definitive list of conflict types yet, make sure to do so!

This article will give you a character-led process that can help you identify the different elements of conflict that keep stories focused and compelling. To demonstrate this process, we’ll reverse-engineer the 2001 film Legally Blonde as an example . If you’re ready, don your favorite pink item and prepare to bend and snap your way into a book-worthy conflict!

Q1: What does your character want?

The first step to working out a story’s central conflict is identifying what your protagonist wants to have or achieve. This should be an external goal: something in the real world and not something abstract like “self-fulfillment.”

Writer’s Step: Identify what your character wants most in life and the steps that they are willing to take to get it.

Example: Legally Blonde

At the start of the film, sorority girl Elle Woods wants two very simple things:  

• To marry her WASPy boyfriend and become Mrs. Warner Huntington III; and
•  Acquire all things pink. 

But when her boyfriend, Warner, dumps her on account of being too blonde (and therefore, not suited to his political ambitions), Elle sets some new goals: 

• Follow Warner to Harvard Law School; and
• Prove that she does indeed make a suitable wife with substance and style.

Need to work out your character's big 'want'?

Enter your email to download Reedsy's character template & worksheet

Q2: What is in their way?

Once you’ve identified what the character wants, you’ll need to figure out what’s stopping them from getting it. 

In any story, a character can’t immediately get what they want because that defeats the whole point of telling it in the first place. Something needs to disrupt the status quo — some kind of obstacle that forces the protagonist onto a new path. So the next step is to identify what is standing in the character’s way.

Writer’s Step: With your character’s goal in mind, determine the most obvious, logical roadblocks that will prevent them from getting what they want.

Once Elle has made a plan, three main things prevent her from achieving those goals:

• Getting accepted to Harvard Law, perhaps the most competitive postgraduate program in the country;
• Social stigma. Even though Elle is privileged in most ways, “serious society” (as personified by the students and faculty of Harvard Law) looks down on pink-clad, blonde-haired sorority sisters. Warner, true to his political ambitions, is easily swayed by public opinion.
• Even if she can get into Law School and overcome the social stigma, Elle still has to convince Warner that she’s a “suitable” wife.

Q3: How can their strengths help them (at first)?

If you know what the character wants and what’s stopping them, you’re on to a good start. Now it’s just a matter of getting around the obstacle that is blocking their path to success. Most characters will have some natural ability that will help them achieve their goal. Sometimes it comes easy, and sometimes they have to dig a little deeper, but they’re likely to be more ready for the challenge than it initially might seem.

Writer’s step: With all your character’s traits in mind, determine what will be essential in helping them jump the hurdles in front of them.

Elle has a go-get-it attitude and is convinced she can do anything she puts her mind to. Together with her sorority sisters and by utilizing her extensive social network, she buckles down on her studies and manages to get accepted to Harvard Law. 

As a deeply personable and relentlessly positive sorority leader, she's accumulated the social skills and work ethic necessary to win over her peers and prove people wrong. Her unique interests even make her the ideal candidate to help the professor’s client — a fitness influencer accused of murder. In short, her ‘blondeness’ turns out to be her greatest asset.

Q4: What must change to overcome the final hurdle?

Not all obstacles can be overcome without a little bit of change and often a healthy dose of internal conflict. To achieve what they want but haven't been able to get, something needs to change in the character’s life or mind on a deeper level. This requires both time and effort, as well as some serious inner contemplation.

Writer’s Step: Again, with all your character’s traits in mind, identify where there’s room for growth or what their limiting factor is. What is stopping them from crossing that finish line, and how can they overcome it?

When Elle has identified why Warner rejects her as a realistic candidate for the wife position — that she’s not serious enough — she tries to become the version of herself that he wants. The problem is that she doesn’t realize that that doesn’t represent real change. In fact, it’s been part of the issue the whole time — she has no ambitions or dreams of her own, except becoming Warner’s wife. 

To regain Warner’s interest, Elle realizes she needs to find her own path and inner strength. But she needs to go through many trials and errors before she can come to that conclusion.

Q5: What consequences will this change have?

Making changes is always easier said than done, and old habits die hard. Especially if they turn out to clash with something else that is important to the character, forcing them to sacrifice something for the sake of their goal. That’s how internal conflict arises and incites personal growth and change. 

In the end, the changes that a character makes are likely to have either positive or negative consequences. Or both. 

Writer’s Step: Figure out the different ways your character might change. What are the consequences of these changes?

Elle’s situation is a classic Catch-22. She wants Warner to want her and is willing to change to achieve the appropriate level of refinement that he is looking for. In the process of pursuing Warner, however, she might end up stumbling into real change — a change that might, in turn, force her to give up some of her old habits and behaviors (and not the ones she thought). She must ask herself: is Warner worth it?

If the answer is yes, she’ll have to give up on her frequent salon visits and her pink closet, and start behaving according to the socially acceptable norms. 

If the answer is no: she’ll have to give up on what she originally wanted — becoming Mrs. Warner Huntington III — and discover a new goal.

Q6: How can other characters bring these conflicts to life?

Conflicts rarely arise in a vacuum. However, people are particularly good at instigating a fight, making them the perfect vessels to show and not tell character growth or develop a plot. Characters can bring conflicts to life in at least three ways:

1. They can create the resistance necessary for conflict to arise

Antagonists and side characters are often (but not always) the ones who instigate a conflict. They might want the same thing that the protagonist wants — or have a different way of achieving it — which creates an opposing force that the protagonist can clash with.

2. They give layers and nuance to the conflict

Side characters can also help the protagonist resolve the conflict by offering different perspectives or alternative solutions that the character wouldn’t have been able to think of themselves. Likewise, round antagonists can bring nuance to the conflict by making the issue at hand more moreally grey.

3. They can make an abstract conflict tangible

Lastly, other characters can be manifestations of the central conflict itself. They can turn a conceptual struggle like “character vs. society” into something the protagonist can confront head-on. 

Imagine a story about a woman facing discrimination in the workplace. We can bring the conflict of systemic discrimination down to a more tangible level by inserting a sexist boss and complicit coworkers. This shows how discrimination has become part of the system while also showing how it affects people individually. In this way, the author can comment on social injustices and tell an engaging story of resistance and overcoming.

Writer’s step: Consider how your secondary characters can bring your story’s conflicts to life — either by opposing or supporting your protagonist.

Even though Elle is a fascinating character in her own right, her story only comes to life because she interacts with other characters. So, who are the supporting players in Legally Blonde, and how do they fit into the conflict?

1. Warner Huntington III, the ex-boyfriend and dream-husband.

Warner represents the external conflict between Elle and a world that undermines and underestimates women, especially when they don’t fit into a traditional, conservative mold.

2. Vivian Kensington, Elle’s law school classmate and Warner’s new girlfriend.

Like Warner, Vivian highlights the central motif of the movie by representing what Elle needs to become if she is to be taken seriously (and it’s probably not a coincidence that she is a brunette). 

She is also a de facto antagonist that Elle needs to defeat to win back Warner.

But Vivian’s character arc also dovetails nicely with the central argument of the movie to emphasize the point that women should support women and get rid of men like Warner.

3. Professor Callahan, a sexist law professor. 

Callahan represents larger systems of sexism that make it difficult for women like Elle to be seen as capable.

4. Emmett, a sweet and supportive junior lawyer at Callahan’s firm, who will become Elle’s new boo. 

As Elle’s new love interest, Emmett represents an alternative way to view women and a new way for Elle to resolve the primary conflict. While marrying Warner would require her to change and lose her identity, Emmett wants her to be true to herself.

That makes him an essential factor in letting Elle see that her “blondeness” is an asset to her and not a liability as everyone else makes it seem.

Emmett is just a supporting character that highlights Elle’s character arc, which is more about self-empowerment than finding love. 

5. Paulette, a salon owner who’s looking for advice on dating.

Paulette is only a minor character, but she helps Elle realize the value she can bring to people’s lives without changing herself or trying to fit into the mold that Warner, Harvard Law, and society have set out for her.

In the end, Legally Blonde combines both external and internal conflict, manifested through Elle and the various side characters, and speaks to female empowerment as well as knowing your worth. And just as Elle went through a journey to discover what she needed, so can any character in a story. All they need is:

• Obstacles standing in their way;
• Strengths that will help them overcome early obstacles;
• A final obstacle that will require them to change; and
• Consequences to making that change.

With all these elements in place, any writer can establish a strong conflict that will power their story.

Going through these steps to find the conflict in a story takes care of a lot of the heavy lifting of writing or analyzing a story. If you’re an author, it’s now just a matter of thinking about how best to dramatize these conflicts and get your character to that point when they get what they want (or realize what they need). 

Join a community of over 1 million authors

Reedsy is more than just a blog. Become a member today to discover how we can help you publish a beautiful book.

Which plot structure is right for your book?

Take our 1-minute quiz to find out.

1 million authors trust the professionals on Reedsy. Come meet them.

Enter your email or get started with a social account:

Creative Writing Lesson 5: Conflict, action, resolution, transition

In the last lesson we introduced the cycle of conflict, action, and resolution. This cycle begins when the character’s disappointed, ordinary life is first disrupted and continues until the moment when the book ends in success or failure. Thus we have an extra set: conflict, action, resolution -> transition into next cycle.

If at any point in your story you cannot identify a current conflict, then you need conflict. Conflict is what drives the story forwards. Remember: a conflict is a want prevented by an obstacle. It is important to note that if the resolution is clear before the action, then there is no real conflict. What you’re aiming to achieve is this response:

“Oh fuck! How is the hero going to get out of this one?”

So how do you know if you have a conflict?

Two simple questions help us build conflict.

First – ask who wants what? If nobody wants anything, you’re in trouble.

Second – what is stopping them from getting what they want?

Now you must decide upon the action they are going to take. Remember, for the first half of the story the protagonist’s (protagonists’ and antagonist’s (s’)) actions are principally driven by the tension between desire and flaw – and as such their “solutions” should make things worse even if they solve the immediate problem.

Around the middle of the story, you’ll have a crisis point where your protagonist realises they are at least partially responsible and attempts to change to overcome the antagonist. This does not, however, stop the character flaws from driving their course of action – the only difference is now they attempt to overcome their flaws, rather than ignore them.

There’s no real conflict without character flaws.

What should be clear by now is that good stories are about flawed characters. This is, amongst other things, what makes writing Superman so hard – and what makes reading Mary Sue fan fiction so dull. There is absolutely nothing wrong with having a protagonist who is a fantasy figure. Hell, Marvel managed to turn round my life-long hatred of super-heroes. But the story comes from their flaws, not their strengths. Their strengths just give them cool ways to overcome their problems (and what is cool REALLY depends on the genre – Jean Genet’s “Thief” makes best use of his talent for deception and amorality in a wonderful book that is also totally loathsome.) Flaws, flaws, flaws. All your characters should be acting from a broken place, or there’s no story.

Resolving the Conflict

So, we have a conflict (want vs obstacle), an action (driven by a flaw or an attempt to overcome a flaw), and now we need a resolution.

The principal purpose of the resolution is to show the emotional consequences of the character’s flaws being challenged. Remember, a flaw is essentially a harmful world view – and learning that the world is not the way you think it is can easily be one of the most painful things you will ever experience. Revealing character is always your purpose, and the character’s desire (we are defined by the things we want and the things preventing us from achieving them) must feel like a matter of life and death. Often, it’s easier to dump the problem on the character’s lap and use that to reveal the desire – how they respond to the conflict reveals what they are. That’s totally fine.

What to do if you don’t know how to resolve the conflict?

If you’re in doubt about how to resolve a conflict, well, the answer is easy. Push your characters as far as you can at every opportunity. What is the worst thing that can happen? DO THAT. What’s bad in life is good on the page. A good game of football is one where the score is 3-2 in extra time, not one that finishes 7-0 in normal time.

The obstacle should be equal or greater than the character’s action. Nothing should ever be easy for the character (and be careful of obvious outs – it must be a genuine obstacle, not one that could be solved if he just talked to her/put down the gun/called Starfleet for backup).

Whatever is happening, your character should have strong feelings about it. They should be driving a car AND revealing something about themselves by how they drive the car.

From resolution into transition

In good storytelling everything has a purpose all the time. And nothing should be doing only one thing: we show emotions, and we move the plot forward.

Thus the resolution of one problem should lead directly into a new conflict: fixing the immediate problem (or screwing it up) only leads to a new, worse problem.

What should emerge is a vicious circle, an inevitable descent where no matter what the hero does their flaws prove to strong/their attempts to overcome their flaws insufficient, until finally, in their darkest hour, right before the end of the story, they are forced to give everything they have and everything they are to win the day (or die.)

In this exercise we’re going to look at transitions. To make this work within your 200 words your writing is going to have to be sparse – almost to the point of outline.

The Exercise

Start in media res with a conflict and its resolution. Show me the want, the obstacle, an action based on the character’s flaw and then move directly through resolution into ANOTHER conflict, making it clear that things have become worse because – even though the protagonists resolved the problem their decision was based on their flaw.

You won’t always want to be as unsubtle as to point this out in every cycle – the character/reader discovering the flaw is part of the experience – but for this exercise throw subtlety out of the window.

To keep things big and easy (not that action is easy to write) I want this set in an action movie of your choice – either fanfiction me from a story you like or make you own. Explosions, fights, whatever works. The trick here, and it’s a trick many action movies fail to achieve, is that you are going to show me the emotional impact of the action.

So, here it is conflict in media res, action, resolution that makes things worse, leading into a new conflict. 200 words. Make it ugly, make it work.

Post your response in the comments below or join the AU Forum .

Find out more about my (totally free) writing lessons here.

Subscribe to Blog via Email

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Email Address

Share this:

• Click to share on Twitter (Opens in new window)
• Click to share on Facebook (Opens in new window)
• Click to email a link to a friend (Opens in new window)
• Click to share on Pocket (Opens in new window)
• Click to share on Reddit (Opens in new window)
• Click to share on LinkedIn (Opens in new window)
• Click to share on Tumblr (Opens in new window)
• Click to print (Opens in new window)
• Click to share on Pinterest (Opens in new window)

Books by Keith

Top Posts & Pages

• How to Give Feedback on Fiction: A Guide for Readers
• How to Write a Synopsis of your Novel, Movie or Play.
• How to Quickly Create Funny Characters
• Moving Parts
• Paris Writers Group
• Point de Vue: Paris
• Radio Charades
• Words to That Effect

Blog Categories

• Book Reviews
• Creativity and Literary Theory
• Grammar and Spelling
• News, Events, Competitions
• Productivity, Planning and Editing
• Radio Plays
• Space Station Zeta
• Structure and Form
• Style and Rhetoric
• Uncategorized
• Writing Lessons

Type and press Enter to search

Techniques for Writing Compelling Conflict: Mastering the Art of Tension in Your Writing

Affiliate Disclaimer

As an affiliate, we may earn a commission from qualifying purchases. We get commissions for purchases made through links on this website from Amazon and other third parties.

Writing compelling conflict is a crucial element in creating a captivating story. Conflict is the driving force behind any narrative, and without it, a story falls flat. Whether it is a physical altercation, a clash of personalities, or an internal struggle, conflict is what keeps readers engaged and invested in the story. However, not all conflict is created equal, and not all conflict is compelling.

To write compelling conflict, writers must understand the different types of conflict and how to effectively use them in their stories. There are four main types of conflict: man vs. man, man vs. nature, man vs. society, and man vs. self. Each type of conflict presents its own unique challenges and opportunities for a writer. By understanding the nuances of each type of conflict, writers can create richer, more complex stories that resonate with readers.

In this article, we will explore techniques for writing compelling conflict. We will examine the different types of conflict and how to effectively use them in your writing. We will also discuss common pitfalls to avoid when writing conflict, and how to ensure that your conflict is both engaging and believable. Whether you are a seasoned writer or just starting out, the tips and techniques in this article will help you create stories that are both compelling and memorable.

Understanding Conflict in Literature

Defining Conflict

Conflict is one of the most important elements of literature, as it creates tension and drives the plot forward. Conflict can be defined as a struggle between two or more opposing forces, whether they are external or internal. External conflicts are those that occur between a character and an outside force, such as another character, society, nature, or fate. Internal conflicts, on the other hand, are those that occur within a character’s mind or emotions, such as a struggle between right and wrong, or a struggle to overcome fear or guilt.

Types of Conflict

There are several types of conflict that can be found in literature. These include:

• Man vs. Man: This is the most common type of external conflict, where one character is pitted against another.
• Man vs. Society: This type of external conflict occurs when a character is in conflict with the values, laws, or customs of society.
• Man vs. Nature: This type of external conflict occurs when a character is in conflict with the forces of nature, such as a hurricane, flood, or earthquake.
• Man vs. Fate: This type of external conflict occurs when a character is in conflict with the inevitable, such as death or destiny.
• Man vs. Self: This is the most common type of internal conflict, where a character is in conflict with his or her own thoughts, feelings, or beliefs.

The Role of Conflict

Conflict is essential to the development of a story, as it creates tension, drama, and suspense. Without conflict, a story would be flat and uninteresting. Conflict also allows for character development, as characters are forced to face their fears, weaknesses, and flaws. Conflict can also be used to explore themes and issues, such as justice, morality, and power. Different genres of literature use conflict in different ways, but all rely on it to create a compelling story.

Creating Compelling Characters

Creating compelling characters is an essential aspect of writing compelling conflict. Characters are the driving force behind any story, and their actions and decisions create the conflict that propels the plot forward. In this section, we will explore some techniques for creating characters that are engaging , dynamic, and memorable.

Character Development

Character development is the process of creating a character that is believable and relatable. A well-developed character has a backstory, personality traits, and flaws that make them unique and interesting. To create a compelling character, writers must consider the following:

• Background: What is the character’s history? Where did they come from, and what events shaped them into who they are today?
• Personality Traits: What are the character’s defining characteristics? Are they brave, loyal, or cunning? Do they have any quirks or idiosyncrasies that make them stand out?
• Flaws: What are the character’s weaknesses or flaws? Do they struggle with anger, addiction, or insecurity? Flaws make characters more relatable and human.

Motivations and Goals

Motivations and goals are essential components of character development. A character’s motivations drive their actions and decisions, while their goals give them something to strive for. To create compelling characters, writers must consider the following:

• Motivations: What drives the character? Are they seeking revenge, justice, or redemption? Understanding a character’s motivations helps writers create believable and compelling actions and decisions.
• Goals: What does the character want? Whether it’s to save the world or find true love, a character’s goals give them direction and purpose.

Character Interactions

Character interactions are an important aspect of creating compelling conflict. How characters interact with each other can create tension, drama, and conflict. To create compelling character interactions, writers must consider the following:

• Relationships: How do characters relate to each other? Are they friends, enemies, or something in between?
• Conflict: What conflicts arise from character interactions? Do characters clash over goals or motivations?
• Dialogue: How do characters communicate with each other? Dialogue can reveal character traits and motivations and create tension and conflict.

In conclusion, creating compelling characters is an essential part of writing compelling conflict. By considering a character’s development, motivations and goals, and interactions with other characters, writers can create characters that are engaging, dynamic, and memorable.

Crafting the Plot Around Conflict

Crafting a compelling conflict requires careful plotting and consideration of the story’s obstacles, tension, stakes, and pacing. Integrating conflict into the plot is essential to creating a story that captures readers’ attention and keeps them engaged until the end.

Integrating Conflict into the Plot

The conflict should be an integral part of the plot and not a mere afterthought. The plot should revolve around the conflict, and the characters’ actions and decisions should drive the story forward. The conflict should be introduced early in the story, and the tension should build gradually to keep readers engaged.

Raising the Stakes

To create a compelling conflict, the stakes must be high. The characters should have something significant to lose if they fail to overcome the obstacles in their way. The stakes should increase as the story progresses, and the characters should face increasingly difficult challenges. This creates tension and keeps readers invested in the story’s outcome.

Pacing and Tension

The pacing of the story should be carefully considered to maintain tension and keep readers engaged. The conflict should be introduced early in the story, and tension should build gradually to keep readers invested in the outcome. The pacing should be varied to keep readers engaged, with moments of high tension followed by moments of relative calm. This creates a sense of ebb and flow that keeps readers invested in the story.

Crafting a plot around conflict requires careful consideration of the story’s obstacles, tension, stakes, and pacing. By integrating conflict into the plot, raising the stakes, and carefully pacing the story, writers can create compelling stories that keep readers engaged until the very end.

The Dynamics of Conflict Resolution

When it comes to writing compelling conflict, understanding the dynamics of conflict resolution is essential. Conflict resolution refers to the process of resolving a conflict between two or more parties. In literature, this process is often depicted through the climax and consequences of the conflict, as well as the resolution and change that follows.

Climax and Consequences

The climax of a conflict is the point at which the conflict reaches its peak intensity. This is often the most dramatic and intense part of the story, and it is where the consequences of the conflict are most apparent. These consequences can take many forms, such as physical harm, emotional distress, or psychological trauma. By highlighting the consequences of the conflict, writers can create tension and suspense, keeping the reader engaged and invested in the story.

Resolution and Change

The resolution of a conflict is the point at which the conflict is resolved, and the parties involved come to a mutual understanding or agreement. This resolution can take many forms, such as compromise, forgiveness, or reconciliation. The resolution of the conflict often leads to change, both in the characters involved and in the world around them. This change can take many forms, such as personal growth, societal change, or a shift in power dynamics.

By understanding the dynamics of conflict resolution, writers can create compelling and engaging conflict that resonates with readers. By highlighting the consequences of the conflict and the changes that result from its resolution, writers can create a sense of realism and depth that draws readers into the story.

Enhancing Conflict Through Writing Techniques

One of the most important aspects of writing a compelling story is the ability to create conflict that keeps readers engaged throughout the narrative. While conflict can arise from a variety of sources, including character relationships and external events, the way that conflict is written can often make or break a story. In this section, we’ll explore some techniques for enhancing conflict through writing.

Dialogue and Action

One of the most effective ways to create conflict in writing is through dialogue and action. When characters have opposing goals or beliefs, their interactions can create tension and drama that keeps readers engaged. By using dialogue to reveal character motivations and desires, writers can create conflict that feels organic and believable.

Action scenes can also be a powerful tool for creating conflict. When characters are physically threatened or put in danger, readers feel a heightened sense of tension and suspense. By carefully choreographing action scenes and using sensory details to immerse readers in the moment, writers can create conflict that feels visceral and intense.

Suspense and Drama

Another way to enhance conflict in writing is through suspense and drama. By withholding information from readers or creating a sense of uncertainty, writers can keep readers on the edge of their seats. Suspense can be created through a variety of techniques, including cliffhangers, foreshadowing, and misdirection.

Drama, on the other hand, is created by revealing information that raises the stakes of the conflict. By introducing new obstacles or revealing hidden motivations, writers can create conflict that feels complex and layered. By carefully balancing suspense and drama, writers can keep readers engaged and invested in the outcome of the conflict.

Thematic Layers

Finally, writers can enhance conflict by adding thematic layers to their stories. By exploring deeper themes and ideas, writers can create conflict that feels meaningful and resonant. For example, a story about a family feud might explore themes of loyalty, betrayal, and forgiveness. By weaving these themes into the conflict, writers can create a story that feels rich and multi-dimensional.

Overall, there are many techniques that writers can use to enhance conflict in their stories. By using dialogue and action, suspense and drama, and thematic layers, writers can create conflict that feels compelling and engaging. Whether you’re writing a thriller, a romance, or a literary novel, these techniques can help you create conflict that keeps readers invested from beginning to end.

Latest posts

Achieving Your Word Count Goals with Daily Sprints: A Guide

Many writers struggle with meeting their word count goals, whether it’s for a school assignment, a blog post, or a novel. It can be frustrating to stare at a blank page or screen and feel like you’re not making progress. However, there is a technique that can help you achieve your word count goals and…

Beat Burnout: Setting Reasonable Writing Expectations

Writing can be a fulfilling and rewarding experience, but it can also be exhausting and draining. Writing burnout is a real phenomenon that can affect anyone, from professional writers to students. When writers push themselves too hard, they can experience stress, lack of motivation, and even physical symptoms like headaches and fatigue. To avoid burnout,…

Dealing with Criticism and Rejection as an Author: Tips and Strategies

As an author, receiving criticism and rejection is an inevitable part of the writing process. It can be difficult to navigate the emotions that come with having your work scrutinized, but it’s important to remember that criticism and rejection are not personal attacks. Instead, they are opportunities for growth and improvement. One way to deal…

What Is Creative Writing? (Ultimate Guide + 20 Examples)

Creative writing begins with a blank page and the courage to fill it with the stories only you can tell.

I face this intimidating blank page daily–and I have for the better part of 20+ years.

In this guide, you’ll learn all the ins and outs of creative writing with tons of examples.

What Is Creative Writing (Long Description)?

Creative Writing is the art of using words to express ideas and emotions in imaginative ways. It encompasses various forms including novels, poetry, and plays, focusing on narrative craft, character development, and the use of literary tropes.

Table of Contents

Let’s expand on that definition a bit.

Creative writing is an art form that transcends traditional literature boundaries.

It includes professional, journalistic, academic, and technical writing. This type of writing emphasizes narrative craft, character development, and literary tropes. It also explores poetry and poetics traditions.

In essence, creative writing lets you express ideas and emotions uniquely and imaginatively.

It’s about the freedom to invent worlds, characters, and stories. These creations evoke a spectrum of emotions in readers.

Creative writing covers fiction, poetry, and everything in between.

It allows writers to express inner thoughts and feelings. Often, it reflects human experiences through a fabricated lens.

Types of Creative Writing

There are many types of creative writing that we need to explain.

Some of the most common types:

• Short stories
• Screenplays
• Flash fiction
• Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

They are compact but impactful, telling a full story within a limited word count. These tales often focus on a single character or a crucial moment.

Short stories are known for their brevity.

They deliver emotion and insight in a concise yet powerful package. This format is ideal for exploring diverse genres, themes, and characters. It leaves a lasting impression on readers.

Example: Emma discovers an old photo of her smiling grandmother. It’s a rarity. Through flashbacks, Emma learns about her grandmother’s wartime love story. She comes to understand her grandmother’s resilience and the value of joy.

Novels (The Long Journey)

Novels are extensive explorations of character, plot, and setting.

They span thousands of words, giving writers the space to create entire worlds. Novels can weave complex stories across various themes and timelines.

The length of a novel allows for deep narrative and character development.

Readers get an immersive experience.

Example: Across the Divide tells of two siblings separated in childhood. They grow up in different cultures. Their reunion highlights the strength of family bonds, despite distance and differences.

Poetry (The Soul’s Language)

Poetry expresses ideas and emotions through rhythm, sound, and word beauty.

It distills emotions and thoughts into verses. Poetry often uses metaphors, similes, and figurative language to reach the reader’s heart and mind.

Poetry ranges from structured forms, like sonnets, to free verse.

The latter breaks away from traditional formats for more expressive thought.

Example: Whispers of Dawn is a poem collection capturing morning’s quiet moments. “First Light” personifies dawn as a painter. It brings colors of hope and renewal to the world.

Plays (The Dramatic Dialogue)

Plays are meant for performance. They bring characters and conflicts to life through dialogue and action.

This format uniquely explores human relationships and societal issues.

Playwrights face the challenge of conveying setting, emotion, and plot through dialogue and directions.

Example: Echoes of Tomorrow is set in a dystopian future. Memories can be bought and sold. It follows siblings on a quest to retrieve their stolen memories. They learn the cost of living in a world where the past has a price.

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

They require an understanding of visual storytelling, pacing, and dialogue. Screenplays must fit film production constraints.

Example: The Last Light is a screenplay for a sci-fi film. Humanity’s survivors on a dying Earth seek a new planet. The story focuses on spacecraft Argo’s crew as they face mission challenges and internal dynamics.

Memoirs (The Personal Journey)

Memoirs provide insight into an author’s life, focusing on personal experiences and emotional journeys.

They differ from autobiographies by concentrating on specific themes or events.

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

Example: Under the Mango Tree is a memoir by Maria Gomez. It shares her childhood memories in rural Colombia. The mango tree in their yard symbolizes home, growth, and nostalgia. Maria reflects on her journey to a new life in America.

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

It’s about crafting compelling narratives concisely. Each word in flash fiction must count, often leading to a twist.

This format captures life’s vivid moments, delivering quick, impactful insights.

Example: The Last Message features an astronaut’s final Earth message as her spacecraft drifts away. In 500 words, it explores isolation, hope, and the desire to connect against all odds.

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

This genre covers real events, people, and places with a twist. It uses descriptive language and narrative arcs to make true stories engaging.

Creative nonfiction includes biographies, essays, and travelogues.

Example: Echoes of Everest follows the author’s Mount Everest climb. It mixes factual details with personal reflections and the history of past climbers. The narrative captures the climb’s beauty and challenges, offering an immersive experience.

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

It explores themes like good vs. evil and heroism in unreal settings. Fantasy requires careful world-building to create believable yet fantastic realms.

Example: The Crystal of Azmar tells of a young girl destined to save her world from darkness. She learns she’s the last sorceress in a forgotten lineage. Her journey involves mastering powers, forming alliances, and uncovering ancient kingdom myths.

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

Science fiction ranges from speculative to hard sci-fi, focusing on plausible futures.

Example: When the Stars Whisper is set in a future where humanity communicates with distant galaxies. It centers on a scientist who finds an alien message. This discovery prompts a deep look at humanity’s universe role and interstellar communication.

Watch this great video that explores the question, “What is creative writing?” and “How to get started?”:

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

They guide writers to produce compelling and impactful work. These principles—Clarity, Coherence, Conciseness, Creativity, and Consistency—help craft stories that engage and entertain.

They also resonate deeply with readers. Let’s explore each of these critical components.

Clarity makes your writing understandable and accessible.

It involves choosing the right words and constructing clear sentences. Your narrative should be easy to follow.

In creative writing, clarity means conveying complex ideas in a digestible and enjoyable way.

Coherence ensures your writing flows logically.

It’s crucial for maintaining the reader’s interest. Characters should develop believably, and plots should progress logically. This makes the narrative feel cohesive.

Conciseness

Conciseness is about expressing ideas succinctly.

It’s being economical with words and avoiding redundancy. This principle helps maintain pace and tension, engaging readers throughout the story.

Creativity is the heart of creative writing.

It allows writers to invent new worlds and create memorable characters. Creativity involves originality and imagination. It’s seeing the world in unique ways and sharing that vision.

Consistency

Consistency maintains a uniform tone, style, and voice.

It means being faithful to the world you’ve created. Characters should act true to their development. This builds trust with readers, making your story immersive and believable.

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

Crafting stories from your imagination involves more than just words on a page. It requires discipline and a deep understanding of language and narrative structure.

Exploring complex characters and themes is also key.

Refining and revising your work is crucial for developing your voice.

The ease of creative writing varies. Some find the freedom of expression liberating.

Others struggle with writer’s block or plot development challenges. However, practice and feedback make creative writing more fulfilling.

What Does a Creative Writer Do?

A creative writer weaves narratives that entertain, enlighten, and inspire.

Writers explore both the world they create and the emotions they wish to evoke. Their tasks are diverse, involving more than just writing.

Creative writers develop ideas, research, and plan their stories.

They create characters and outline plots with attention to detail. Drafting and revising their work is a significant part of their process. They strive for the 5 Cs of compelling writing.

Writers engage with the literary community, seeking feedback and participating in workshops.

They may navigate the publishing world with agents and editors.

Creative writers are storytellers, craftsmen, and artists. They bring narratives to life, enriching our lives and expanding our imaginations.

How to Get Started With Creative Writing?

Embarking on a creative writing journey can feel like standing at the edge of a vast and mysterious forest.

The path is not always clear, but the adventure is calling.

Here’s how to take your first steps into the world of creative writing:

• Find a time of day when your mind is most alert and creative.
• Create a comfortable writing space free from distractions.
• Use prompts to spark your imagination. They can be as simple as a word, a phrase, or an image.
• Try writing for 15-20 minutes on a prompt without editing yourself. Let the ideas flow freely.
• Reading is fuel for your writing. Explore various genres and styles.
• Pay attention to how your favorite authors construct their sentences, develop characters, and build their worlds.
• Don’t pressure yourself to write a novel right away. Begin with short stories or poems.
• Small projects can help you hone your skills and boost your confidence.
• Look for writing groups in your area or online. These communities offer support, feedback, and motivation.
• Participating in workshops or classes can also provide valuable insights into your writing.
• Understand that your first draft is just the beginning. Revising your work is where the real magic happens.
• Be open to feedback and willing to rework your pieces.
• Carry a notebook or digital recorder to jot down ideas, observations, and snippets of conversations.
• These notes can be gold mines for future writing projects.

Final Thoughts: What Is Creative Writing?

Creative writing is an invitation to explore the unknown, to give voice to the silenced, and to celebrate the human spirit in all its forms.

Check out these creative writing tools (that I highly recommend):

Read This Next:

• What Is a Prompt in Writing? (Ultimate Guide + 200 Examples)
• What Is A Personal Account In Writing? (47 Examples)
• How To Write A Fantasy Short Story (Ultimate Guide + Examples)
• How To Write A Fantasy Romance Novel [21 Tips + Examples)

• How to write a story
• How to write a novel
• How to write poetry
• Dramatic writing
• How to write a memoir
• How to write a mystery
• Creative journaling
• Publishing advice
• Story starters
• Poetry prompts
• For teachers

Developing Your Story Conflict

• A character struggling with her relationship with a difficult parent (the struggle is the problem).
• An argument that takes place at the dinner table (the argument is the problem).
• A character’s romantic interest in a man who is interested in another woman (his lack of interest in her is the problem).
• Identify something that your character really wants, the character’s goal in the story.
• Identify a problem or an obstacle in the character’s path, which the character MUST solve in order to reach his or her goal.
• Think about what actions the character will take to try to overcome the problem or obstacle and reach his or her goal. And think about what new problems or complications might arise as the character takes these actions. The character’s actions to deal with the problem, and the consequences of these actions, will be potential events or scenes for your story.

More help with developing a story plot

• Our eight-week online course on story structure
• What is plot? An introduction
• List of articles on how to write a story

© 2009-2024 William Victor, S.L., All Rights Reserved.

Terms -  Returns & Cancellations - Affiliate Disclosure  -  Privacy Policy

• Kindle Unlimited Free Books
• Writing Piggy Monk Square
• Piggy Monk Square – Book Reviews
• Practical Creative Writing Exercises Book
• Authors Notes – Writing Fiction Street
• The Sunshine Girl
• Kindle Unlimited eBooks for Children
• Writing About Ballyyahoo
• Free Stories For Kids
• The Witch Of Ballyyahoo
• A Story For Cats And About Cats.
• Bonkers In Ballyyahoo
• The Little Book Of Swinging On A Gate
• Free as a Ladybird
• The Tree Hugger
• Football Mad – A Funny Children’s Story
• Football Crazy
• Creative Thinking
• Creative Writing – Flow
• Walking and Inspiration
• Dream a Little Dream
• How To Increase Your Creativity in Five Easy Steps
• On Confessing To Depression
• Giving up the Day Job to Write
• Don’t tell me nobody wants to read my stories.
• Political Satire – Funny or Not?
• Talking To Strangers
• Go Set A Watchman – Her Choice?
• Writing For The Market
• Why Women Writers Use Initials
• Ten worst things about social networks.
• How Not To Deal With Criticism
• Transparency and The Irish Film Board
• What Do I Know About Bullying?
• Valentine’s Day And My Green Heart
• Too Many Experts
• Be True To Yourself
• The Glass Castle – Jeanette Walls
• Small Great Things – Jodi Picoult
• Just Friends – Elizabeth Grey
• The Woman Who Walked Into Doors – Roddy Doyle
• Cookie Policy

How To Create Story Conflict

Learning how to create conflict in your stories is crucial.  Imagine reading a story that begins where the main character has no flaws or fears, lives in a great environment, has happy well-balanced relationships, a great job and boss, has fantastic hobbies, plenty of money etc.

In other words I am asking you to think of a story that gets better and better. A character starts off happy, remains happy and gets happier. Does this sound interesting?

Then imagine reading more and more pages about this wonderful person and their wonderful life. How many more pages do you think you will turn before you put the book down? The same goes with films and television – conflict is everything.

I think a good book is one you are dying to get your friends to read so you can discuss it and one where you have to bite your tongue not to tell them what happens in the end.

None of us want to know the end of a story before we have read it because we are aware that the enjoyment of ‘finding out’ will be spoiled. What is the point of reading a book if you are not the least bit curious to know both what happens next, and how it happens?

CONFLICT – A JOURNEY THROUGH OBSTACLES

This is why, whether we consciously realise it or not, we all want something to happen to the characters in a story. By this I mean something that affects the character enough to change their path and set them off on a journey through obstacles. Simply put, this is what makes a story differ from a straightforward report or list of events. This is conflict. If we want to create a story we need to create conflict.

Some people like to see characters overcome all the obstacles and end up at the proverbial happy ending and some of us like an ambiguous ending where the reader gets to project their own thoughts and imagination on to an undefined future and are left with something to think about.

The question of story versus character is one that has provoked much debate among writers. There are those who argue strongly that it is character that matters most and that character development should take priority over story. The argument goes that it is the revelation of the layers of character underneath the initial observation of looks and personality that make the story.

LET CONFLICT REVEAL CHARACTER

I would argue that we need both to create a character.

Conflict is change and this is what forces hidden and therefore interesting characteristics to the surface. We are aware of this in our lives. There are people who surprise you by their response to conflict or crisis and those who don’t – who are the most interesting?

Are people who do exactly what you expect all the time interesting? We might like them but sometimes it takes a crisis to learn ‘the truth’ about a person.  The events, obstacles, etc. in a good story inform this crisis. Crisis is crucial when you create a plot for your story.

In real life crisis is something that varies from person to person and so it is for stories. A crisis doesn’t have to be huge to be interesting – it just has to cause conflict – problems and obstacles for our characters to overcome. Without this there is no story, just description and no matter how wonderful your description is, it is not what turns pages.

Best of luck with your writing.

Share this:

Trackbacks/pingbacks.

[…] How To Create Story Conflict […]

Leave a Reply Click here to cancel reply.

Name (required)

Email (will not be published) (required)

Notify me of new posts by email.

This site uses Akismet to reduce spam. Learn how your comment data is processed .