Understanding the types of conflict in a story helps you write stronger scenes, build believable characters, and keep readers turning pages. Conflict is the engine of every plot—it creates tension, reveals personality, and drives change. Before you start, have a clear idea of your protagonist and the world they live in. You do not need any special tools, just a notebook or document to brainstorm.
What You’ll Need
- A draft or outline of your story’s main character and setting
- A list of your character’s goals and fears
- Time to brainstorm and revise
Step-by-Step
- Identify your protagonist’s core desire. Every conflict starts with someone wanting something—a goal, a person, safety, justice, or peace. Write down what your main character wants more than anything. This desire is the fuel for every conflict you will create.
- List the obstacles that stand in the way. Think about what could stop your character from getting what they want. Write down at least five different obstacles. These can be people, circumstances, internal doubts, or forces of nature. The more specific, the better.
- Sort your obstacles into the classic conflict types. There are six main categories that most story conflicts fall into. Match each obstacle on your list to one of these types. You will likely have more than one type in a single story.
- Understand character vs. self. This is an internal conflict where the character struggles with their own emotions, beliefs, or flaws. Examples include a fear of failure, a moral dilemma, or a bad habit they cannot break. Write a scene where your character argues with themselves or makes a difficult choice.
- Understand character vs. character. This is the most common external conflict. One character opposes another—a rival, a villain, a family member, or a friend with a different goal. The opposition can be physical, verbal, or emotional. Write a confrontation scene where both characters want different outcomes.
- Understand character vs. society. Here the character fights against a group, institution, or cultural norm. This could be a corrupt government, an unfair school system, or a social expectation like marriage or career choice. The character is often an outsider or rebel. Show the rules of the society and then have your character break them.
- Understand character vs. nature. The character struggles against the environment—a storm, a wilderness, a disease, or an animal. This conflict tests physical endurance and survival instincts. Describe the sensory details of the environment and the character’s physical limits.
- Understand character vs. technology. The character fights against machines, artificial intelligence, or advanced gadgets that have gone wrong or are being misused. This is common in science fiction but can appear in any modern setting. Show how the technology works and why it threatens the character.
- Understand character vs. the supernatural. The character faces ghosts, monsters, magic, or fate. This conflict often blends with character vs. self, as the character must confront their own beliefs or fears. Establish the rules of your supernatural element early so the conflict feels fair.
- Blend multiple conflict types for depth. Most memorable stories combine two or more types. For example, a character might fight a rival (vs. character) while also doubting their own abilities (vs. self). Choose one primary conflict for your main plot, then add secondary conflicts to subplots. This creates layers and keeps the story from feeling one-note.
- Test each conflict scene for escalation. A good conflict builds over time. Start small—a tense word, a minor setback—then increase the stakes with each scene. Ask yourself: what is the worst thing that could happen next? Write that. Repeat until the climax.
- Resolve the conflict in a way that changes your character. The ending of a conflict should not just restore the status quo. Your character should be different—braver, wiser, more accepting, or more broken. Write a final scene that shows the aftermath and the change.
Common Mistakes
- Using only one conflict type. A story with only external action can feel shallow, while a story with only internal turmoil can feel slow. Mix internal and external conflicts for balance.
- Making the conflict too easy to resolve. If your character solves the problem in one scene, there is no tension. Raise the stakes and add setbacks.
- Confusing character vs. society with character vs. character. A boss who fires your character is a person (vs. character). The company policy that allows unfair firing is society. Know which one you are writing.
- Forgetting that internal conflict needs action. Do not just tell readers your character is anxious. Show them biting their nails, avoiding a phone call, or making a risky choice because of their fear.
- Resolving conflicts too neatly. Real life rarely ties up every loose end. Leave some tension or unresolved emotion to feel authentic.
Tips
- Write your character’s deepest fear on a sticky note and keep it near your desk. Use that fear to fuel every conflict you create.
- Read or watch a story you love and name the conflict types out loud. Notice how they layer and shift over the course of the plot.
- Give each conflict a clear question the reader wants answered. For example, “Will she forgive him?” or “Can they survive the storm?” Keep that question alive until the climax.
- Use dialogue to reveal conflict. Two characters arguing about a small topic often reveal a larger disagreement beneath the surface.
- If you feel stuck, ask: “What does my character want right now, and who or what is stopping them?” Write that scene immediately.
Troubleshooting
Your story feels boring even though you have conflict. Check if the conflict is actually personal to your character. A generic fight with a monster is less interesting than a fight that forces your character to confront a past failure. Tie every conflict to your character’s specific history and desires.
You have too many conflicts and the plot feels scattered. Pick one primary conflict for the main plot and relegate the others to subplots. Make sure each subplot connects to the main theme or helps your character grow. If a conflict does not affect the protagonist, cut it.
Your conflict resolves too quickly. Add a twist or a new obstacle right before the resolution. For example, just when the character thinks they have won, reveal that the cost of winning was higher than expected.
You are not sure which conflict type fits your idea. Write a short scene from your story and see what the character is actually struggling against. If they are fighting their own doubt, it is vs. self. If they are fighting a rival, it is vs. character. The scene will tell you.
Frequently Asked Questions
Can a story have more than one main conflict? Yes, but it is best to have one clear primary conflict for the main plot. Additional conflicts can drive subplots and add depth, but too many equal-weight conflicts can confuse readers.
Is internal conflict more important than external conflict? Neither is more important. External conflict creates action and plot, while internal conflict creates emotional depth and character growth. The best stories usually have both.
What is the difference between character vs. society and character vs. character? Character vs. society is against a group, institution, or norm. Character vs. character is against a single person. A police officer enforcing a bad law is a person; the law itself is society.
Do all stories need conflict? Almost all narratives rely on some form of conflict to create interest and change. Even a quiet literary story about daily life has internal tension or a small obstacle. Without any conflict, there is no story, only a description.
Can conflict be non-verbal or silent? Absolutely. A character who refuses to speak, a tense silence, or a withheld gesture can be powerful conflict. Internal conflict is often silent by nature, and external conflict can be expressed through body language and action rather than words.
How do I know when a conflict is resolved? A conflict is resolved when the central question is answered and the character has changed in some way. The resolution does not have to be happy—it just has to be final for that story arc.