Can a Story Have Both Internal and External Conflict
In the realm of storytelling, conflict serves as the beating heart that propels narratives forward and captivates readers. The interplay between internal and external conflicts forms the backbone of compelling stories, creating depth, tension, and resonance. This article delves into the intricate world of storytelling conflicts, exploring how internal and external struggles coexist and complement each other to create rich, engaging narratives.
What is internal conflict in storytelling?
Internal conflict in storytelling refers to the psychological or emotional struggle that occurs within a character’s mind. It represents the inner turmoil, doubts, and dilemmas that a character faces, often pitting their desires against their values, beliefs, or fears. This type of conflict is deeply personal and introspective, revealing the complexities of human nature and the internal battles we all face.
Internal conflicts manifest in various forms, such as:
Moral dilemmas: Characters grappling with ethical choices, weighing right and wrong.
Emotional struggles: Characters dealing with conflicting emotions or suppressed feelings.
Identity crises: Characters questioning their sense of self or purpose in life.
Guilt and regret: Characters haunted by past actions or missed opportunities.
Fear and insecurity: Characters battling self-doubt or anxiety about their abilities.
These internal conflicts often drive character development and provide insight into the motivations and thought processes of the characters. They create relatable and multi-dimensional personalities that resonate with readers on a profound level.
For example, in F. Scott Fitzgerald’s “The Great Gatsby,” Jay Gatsby experiences intense internal conflict as he struggles with his identity and the pursuit of his idealized love for Daisy Buchanan. His internal turmoil stems from the disparity between his fabricated persona and his true self, as well as the conflict between his romantic ideals and the harsh reality of his situation.
Internal conflicts add depth and complexity to characters, making them more human and relatable. They provide a window into the character’s psyche, allowing readers to connect emotionally and intellectually with their struggles. This connection fosters empathy and investment in the character’s journey, enhancing the overall reading experience.
How does external conflict differ from internal conflict?
External conflict in storytelling refers to the struggles or obstacles that a character faces in the outside world. Unlike internal conflicts, which occur within the character’s mind, external conflicts involve tangible challenges, antagonists, or circumstances that the character must confront or overcome. These conflicts are often more visible and action-oriented, driving the plot forward and creating tension in the narrative.
To better understand the differences between internal and external conflicts, let’s examine their key characteristics:
| Aspect | Internal Conflict | External Conflict |
|---|---|---|
| Nature | Psychological or emotional | Physical or situational |
| Source | Within the character’s mind | Outside forces or circumstances |
| Visibility | Often hidden or subtle | Usually apparent and observable |
| Resolution | Requires personal growth or change | Typically involves action or confrontation |
| Impact | Primarily affects character development | Drives plot progression |
| Examples | Moral dilemmas, self-doubt, inner turmoil | Battles, obstacles, antagonists, natural disasters |
External conflicts come in various forms, including:
Character vs. Character: Conflicts between the protagonist and other characters, such as rivals, enemies, or antagonists.
Character vs. Nature: Struggles against natural forces, environmental challenges, or survival situations.
Character vs. Society: Conflicts arising from societal norms, expectations, or injustices.
Character vs. Technology: Challenges posed by technological advancements or artificial intelligence.
Character vs. Fate: Struggles against predetermined destinies or seemingly insurmountable odds.
These external conflicts create tangible obstacles for characters to overcome, providing clear goals and challenges that drive the story forward. They often serve as catalysts for action, forcing characters to make decisions, take risks, and confront their limitations.
For instance, in J.R.R. Tolkien’s “The Lord of the Rings,” Frodo Baggins faces numerous external conflicts as he embarks on his quest to destroy the One Ring. He encounters physical dangers, battles against evil forces, and navigates treacherous landscapes. These external challenges test his resolve, skills, and relationships with other characters.
While internal and external conflicts differ in their nature and manifestation, they often intertwine and influence each other throughout a story. The external challenges a character faces can trigger or exacerbate internal struggles, while internal conflicts can shape how a character approaches and resolves external obstacles.
Why are both internal and external conflicts essential for compelling narratives?
The combination of internal and external conflicts is essential for creating compelling narratives because it adds depth, complexity, and realism to stories. This interplay between inner struggles and outer challenges mirrors the human experience, making narratives more relatable and engaging for readers.
Multidimensional storytelling: By incorporating both types of conflict, writers create a rich tapestry of experiences for their characters. This multifaceted approach allows for a more nuanced exploration of themes, character development, and plot progression.
Enhanced character depth: Internal conflicts provide insight into a character’s psyche, motivations, and values, while external conflicts showcase their abilities, resilience, and growth. Together, they create well-rounded, believable characters that readers can connect with on multiple levels.
Increased tension and suspense: The interplay between internal and external conflicts creates layers of tension. As characters grapple with their inner demons while facing external challenges, readers become more invested in the outcome, heightening suspense and emotional engagement.
Realistic portrayal of human experience: In real life, people often face both internal and external struggles simultaneously. By reflecting this reality in storytelling, writers create narratives that resonate with readers’ own experiences and emotions.
Diverse narrative possibilities: The combination of internal and external conflicts allows for a wide range of storytelling possibilities. Writers can explore how characters’ inner struggles influence their actions in the external world and vice versa, creating dynamic and unpredictable narratives.
Thematic exploration: The interplay between internal and external conflicts provides a fertile ground for exploring complex themes and ideas. Writers can use this dynamic to delve into philosophical questions, moral dilemmas, and societal issues in a nuanced and engaging manner.
Pacing and rhythm: Alternating between internal and external conflicts helps maintain a balanced pace in the story. Moments of introspection can provide respite from action-packed external conflicts, while external challenges can break up long periods of internal struggle.
For example, in Harper Lee’s “To Kill a Mockingbird,” the protagonist Scout Finch faces both internal and external conflicts. Externally, she confronts the racial prejudices of her community and the dangers associated with her father’s defense of Tom Robinson. Internally, she struggles with understanding the complexities of adult morality and the loss of innocence. These intertwined conflicts create a compelling narrative that explores themes of justice, empathy, and coming of age.
The synergy between internal and external conflicts elevates storytelling from mere plot-driven narratives to emotionally resonant and thought-provoking experiences. It allows writers to create stories that not only entertain but also challenge readers to reflect on their own lives and the world around them.
How do internal and external conflicts contribute to character development?
Internal and external conflicts play crucial roles in shaping characters throughout a story, contributing significantly to their growth, transformation, and overall development. These conflicts serve as catalysts for change, pushing characters to evolve and adapt in response to the challenges they face.
Internal conflicts and character development:
Internal conflicts contribute to character development by:
Revealing inner complexities: Internal struggles expose a character’s fears, desires, and values, providing depth and nuance to their personality.
Driving personal growth: As characters grapple with their inner demons, they often undergo profound changes, learning valuable lessons about themselves and the world.
Influencing decision-making: Internal conflicts shape the choices characters make, revealing their priorities and moral compass.
Fostering self-awareness: Through internal struggles, characters gain insight into their own motivations and behaviors, leading to greater self-understanding.
Creating empathy: Readers connect with characters on a deeper level by witnessing their internal battles, fostering empathy and emotional investment.
For example, in Jane Austen’s “Pride and Prejudice,” Elizabeth Bennet’s internal conflict between her initial prejudice against Mr. Darcy and her growing attraction to him drives her character development. This internal struggle leads her to reassess her judgments and preconceptions, ultimately resulting in personal growth and a more nuanced understanding of herself and others.
External conflicts and character development:
External conflicts contribute to character development by:
Testing abilities and resilience: External challenges push characters to their limits, revealing their strengths and weaknesses.
Forcing adaptation: Characters must learn new skills or change their approaches to overcome external obstacles, leading to growth and development.
Building relationships: Shared external conflicts often bring characters together, forging bonds and alliances that shape their development.
Revealing true nature: How characters respond to external pressures often reveals their core values and personality traits.
Providing opportunities for heroism or failure: External conflicts create situations where characters can rise to the occasion or falter, influencing their arc and self-perception.
For instance, in J.K. Rowling’s “Harry Potter” series, Harry faces numerous external conflicts, from battling dark wizards to navigating the complexities of the wizarding world. These challenges force him to develop his magical abilities, learn to trust and rely on others, and confront his fears and insecurities.
The interplay of internal and external conflicts in character development:
The most effective character development often occurs when internal and external conflicts intertwine and influence each other:
Externalizing internal struggles: External conflicts can serve as physical manifestations of a character’s internal battles, allowing for tangible exploration of abstract concepts.
Internalizing external challenges: External obstacles can trigger or exacerbate internal conflicts, forcing characters to confront their inner demons.
Conflict resolution leading to growth: Overcoming external challenges can help resolve internal conflicts, and vice versa, leading to holistic character development.
Deepening motivations: The interplay between internal and external conflicts can reveal and refine a character’s true motivations and goals.
Creating dynamic arcs: The back-and-forth between internal and external struggles creates a dynamic character arc that feels organic and compelling.
An excellent example of this interplay can be found in Suzanne Collins’ “The Hunger Games.” Katniss Everdeen faces intense external conflicts in the form of the deadly games and the oppressive Capitol. These external challenges intertwine with her internal struggles, such as her conflicted feelings about survival, loyalty, and identity. As she navigates both sets of conflicts, Katniss undergoes significant character development, evolving from a survivalist focused on protecting her family to a symbol of rebellion and hope.
By skillfully weaving together internal and external conflicts, writers create rich, multidimensional characters that grow and evolve throughout the story. This development not only engages readers but also adds depth and authenticity to the narrative, making the characters’ journeys more impactful and memorable.
What are some common types of internal conflicts?
Internal conflicts form the core of a character’s psychological and emotional journey. These inner struggles add depth and complexity to characters, making them more relatable and human. Here are some common types of internal conflicts frequently explored in literature:
Man vs. Self: This fundamental internal conflict involves a character struggling with their own thoughts, emotions, or identity. It often manifests as:
Self-doubt: Characters questioning their abilities, worth, or decisions.
Identity crisis: Struggles with understanding or accepting one’s true self.
Moral dilemmas: Grappling with ethical choices and conflicting values.
Example: In William Shakespeare’s “Hamlet,” the titular character’s internal conflict revolves around his indecision and moral questioning about avenging his father’s death.
Desire vs. Duty: Characters torn between personal wants and responsibilities face this conflict. It can involve:
Professional obligations vs. personal life
Familial expectations vs. individual aspirations
Societal norms vs. personal desires
Example: In Jane Austen’s “Sense and Sensibility,” Elinor Dashwood struggles between her duty to her family and her desire for Edward Ferrars.
Emotion vs. Reason: This conflict pits a character’s emotional impulses against their logical thinking. It often includes:
Love vs. practicality
Passion vs. rationality
Instinct vs. calculated decision-making
Example: In Charlotte Brontë’s “Jane Eyre,” the protagonist battles between her passionate love for Mr. Rochester and her rational decision to leave him due to his existing marriage.
Past vs. Present: Characters grappling with their history and its impact on their current life face this conflict. It can manifest as:
Guilt over past actions
Trauma affecting present behavior
Nostalgia interfering with moving forward
Example: In F. Scott Fitzgerald’s “The Great Gatsby,” Jay Gatsby’s obsession with recapturing his past love with Daisy Buchanan drives his internal conflict.
Belief vs. Doubt: This conflict involves characters questioning their long-held beliefs or faith. It can include:
Religious or spiritual crises
Ideological doubts
Loss of faith in institutions or people
Example: In Yann Martel’s “Life of Pi,” the protagonist grapples with questions of faith and belief as he struggles to survive at sea.
Fear vs. Courage: Characters facing their fears and insecurities embody this conflict. It often involves:
Overcoming phobias
Confronting past traumas
Taking risks despite anxiety
Example: In Stephen King’s “It,” the adult characters must overcome their childhood fears to confront the evil entity terrorizing their town.
Loyalty vs. Betrayal: This conflict arises when characters must choose between conflicting loyalties or consider betraying someone or something they value. It can include:
Choosing between friends or family members
Balancing personal integrity with group loyalty
Deciding whether to expose wrongdoing by loved ones
Example: In George R.R. Martin’s “A Song of Ice and Fire” series, many characters face conflicting loyalties between family, duty, and personal ambition.
Ambition vs. Contentment: Characters struggling between the desire for more and satisfaction with their current situation face this conflict. It often involves:
Career advancement vs. work-life balance
Material success vs. personal fulfillment
Striving for greatness vs. accepting limitations
Example: In Arthur Miller’s “Death of a Salesman,” Willy Loman grapples with his unfulfilled ambitions and the reality of his life.
Change vs. Stagnation: This conflict occurs when characters must decide whether to embrace change or cling to the familiar. It can include:
Adapting to new circumstances vs. maintaining the status quo
Personal growth vs. comfort in routine
Embracing new ideas vs. clinging to traditional beliefs
Example: In Kazuo Ishiguro’s “The Remains of the Day,” the butler Stevens struggles with changing his rigid worldview and embracing emotions.
Individuality vs. Conformity: Characters facing pressure to fit in or stand out experience this conflict. It often involves:
Expressing unique identity vs. blending in with society
Following personal convictions vs. adhering to group norms
Rebellion against authority vs. acceptance of rules
Example: In Ray Bradbury’s “Fahrenheit 451,” Guy Montag grapples with his growing individuality in a conformist society that bans books.
These internal conflicts provide rich material for character development and thematic exploration in storytelling. By delving into these inner struggles, writers create complex, relatable characters that resonate with readers on a deep, emotional level. The resolution (or lack thereof) of these conflicts often drives character arcs and contributes significantly to the overall narrative’s depth and impact.
What are the main categories of external conflicts?
External conflicts in storytelling provide tangible obstacles and challenges for characters to overcome. These conflicts drive the plot forward, create tension, and often serve as catalysts for character growth. Here are the main categories of external conflicts commonly found in literature:
Character vs. Character: This is one of the most common and straightforward types of external conflict. It involves direct opposition between characters, often manifesting as:
Protagonist vs. Antagonist: The main character facing off against a primary opposing force.
Rivalry: Characters competing for the same goal or resource.
Interpersonal conflicts: Disagreements, fights, or power struggles between characters.
Example: In William Shakespeare’s “Romeo and Juliet,” the conflict between the Montague and Capulet families drives the tragic story of the star-crossed lovers.
Character vs. Society: This conflict pits a character against societal norms, expectations, or institutions. It often explores themes of:
Social injustice
Rebellion against oppressive systems
Nonconformity in the face of societal pressure
Example: In Margaret Atwood’s “The Handmaid’s Tale,” Offred struggles against the oppressive dystopian society of Gilead.
Character vs. Nature: This conflict involves characters battling against natural forces or the environment. It can include:
Survival situations
Natural disasters
Exploration of harsh or unfamiliar terrains
Example: In Jack London’s “To Build a Fire,” the protagonist fights against the extreme cold of the Yukon wilderness.
Character vs. Technology: As technology advances, this conflict becomes increasingly relevant. It often explores:
Human dependence on technology
Ethical dilemmas posed by technological advancements
The struggle to adapt to rapid technological changesExample: In Isaac Asimov’s “I, Robot” series, characters grapple with the implications and challenges of advanced artificial intelligence.
Character vs. Supernatural: This conflict involves characters facing otherworldly or mystical forces. It often includes:
Battles against monsters, ghosts, or demons
Confrontations with gods or mythical beings
Dealing with unexplained phenomena or curses
Example: In Bram Stoker’s “Dracula,” the characters fight against the supernatural threat posed by the vampire Count Dracula.
Character vs. Fate/Destiny: This conflict arises when characters struggle against predetermined outcomes or seemingly insurmountable odds. It can involve:
Attempts to change a prophesied future
Rebellion against a predetermined role or destiny
Acceptance or rejection of one’s fate
Example: In Paulo Coelho’s “The Alchemist,” Santiago embarks on a journey to fulfill his Personal Legend, facing numerous obstacles along the way.
Character vs. Machine: While similar to Character vs. Technology, this conflict specifically involves direct confrontations with machines or artificial intelligences. It often explores:
Human superiority or inferiority to machines
The ethics of creating sentient machines
The struggle for control between humans and their creations
Example: In Philip K. Dick’s “Do Androids Dream of Electric Sheep?” (adapted into the film “Blade Runner”), the protagonist hunts rogue androids while questioning the nature of humanity.
These external conflicts provide the framework for engaging plots and challenging scenarios that test characters’ abilities, resolve, and values. They create opportunities for action, tension, and dramatic confrontations that keep readers engaged and invested in the story’s outcome.
How can internal and external conflicts be effectively combined in a story?
Combining internal and external conflicts effectively is an art that can elevate a story from good to great. This integration creates a rich, multi-layered narrative that engages readers on both emotional and intellectual levels. Here are strategies for effectively combining these conflict types:
Parallel Development: Develop internal and external conflicts that mirror or complement each other. As the character faces external challenges, their internal struggles should evolve in tandem.
Example: In J.R.R. Tolkien’s “The Lord of the Rings,” Frodo’s external journey to destroy the One Ring parallels his internal struggle with its corrupting influence.
Cause and Effect Relationship: Let external conflicts trigger or exacerbate internal struggles, and vice versa. This interplay creates a dynamic narrative where each type of conflict influences the other.
Example: In F. Scott Fitzgerald’s “The Great Gatsby,” the external conflict of Gatsby’s pursuit of Daisy intensifies his internal conflict about his identity and past.
Conflicting Resolutions: Create situations where resolving an external conflict might worsen an internal one, or where overcoming an internal struggle is necessary to address an external challenge.
Example: In William Styron’s “Sophie’s Choice,” Sophie’s external conflict of surviving in a concentration camp leads to an impossible choice that creates a devastating internal conflict.
Thematic Resonance: Ensure that both internal and external conflicts explore and reinforce the story’s central themes. This coherence adds depth and meaning to the narrative.
Example: In Harper Lee’s “To Kill a Mockingbird,” both the external racial conflicts and Scout’s internal struggles with understanding prejudice reinforce themes of injustice and moral growth.
Character-Driven Choices: Use internal conflicts to influence how characters approach external challenges. Their inner struggles should inform their decisions and actions in the external world.
Example: In Suzanne Collins’ “The Hunger Games,” Katniss’s internal conflict about trust and loyalty affects how she navigates the external dangers of the arena.
Escalating Tension: As external conflicts intensify, ramp up internal struggles as well. This dual escalation creates mounting pressure on the character, driving the story forward.
Example: In George Orwell’s “1984,” as Winston Smith’s external conflict with the Party escalates, his internal struggle with his beliefs and memories intensifies.
Symbolic Representations: Use external conflicts as physical manifestations or symbols of internal struggles. This technique can make abstract internal conflicts more tangible and relatable.
Example: In Herman Melville’s “Moby-Dick,” Captain Ahab’s external conflict with the white whale symbolizes his internal obsession and struggle with fate.
Contrasting Paces: Alternate between fast-paced external conflicts and slower, introspective moments focusing on internal struggles. This variation in pacing keeps the narrative engaging and allows for both action and character development.
Example: In Khaled Hosseini’s “The Kite Runner,” intense external conflicts in war-torn Afghanistan are interspersed with Amir’s internal struggles with guilt and redemption.
Multiple Perspectives: In stories with multiple viewpoint characters, explore how different characters’ internal conflicts affect their responses to shared external challenges.
Example: In George R.R. Martin’s “A Song of Ice and Fire” series, various characters’ internal conflicts shape their reactions to the external threats of war and political intrigue.
Gradual Revelation: Slowly reveal aspects of a character’s internal conflict through their responses to external challenges. This technique adds depth to the character while maintaining narrative momentum.
Example: In Gillian Flynn’s “Gone Girl,” Amy’s true nature and internal conflicts are gradually revealed through her actions in response to external events.
By skillfully intertwining internal and external conflicts, writers create narratives that are not only exciting and eventful but also psychologically rich and emotionally resonant. This combination allows for a more complete exploration of characters and themes, resulting in stories that linger in readers’ minds long after the last page is turned.
What role does internal conflict play in character arcs?
Internal conflict plays a pivotal role in shaping character arcs, driving personal growth, and adding depth to a character’s journey throughout a story. It serves as the emotional and psychological engine that propels characters through their transformative experiences. Here’s an exploration of the crucial roles internal conflict plays in character arcs:
Catalyst for Change: Internal conflicts often serve as the initial spark that sets a character’s arc in motion. These inner struggles create a sense of dissatisfaction or unease that motivates characters to embark on their journey of change.
Example: In Jane Austen’s “Emma,” the protagonist’s internal conflict between her perceived matchmaking skills and her actual lack of self-awareness initiates her journey of personal growth.
Defining Character Motivation: Internal conflicts reveal a character’s deepest desires, fears, and values. These inner struggles provide insight into what drives a character, making their actions and decisions more understandable and relatable to readers.
Example: In F. Scott Fitzgerald’s “The Great Gatsby,” Jay Gatsby’s internal conflict between his idealized past and his present reality defines his motivations and actions throughout the story.
Obstacle to Overcome: Internal conflicts often represent the most significant barriers characters must overcome to achieve their goals or complete their arcs. Resolving these inner struggles is often key to a character’s growth and transformation.
Example: In Charlotte Brontë’s “Jane Eyre,” Jane’s internal conflict between her passionate nature and her sense of moral duty is a central obstacle she must navigate throughout her journey.
Source of Tension: Internal conflicts create psychological tension that keeps readers engaged. This inner turmoil adds depth to characters and makes their journey more compelling, even during lulls in external action.
Example: In Fyodor Dostoevsky’s “Crime and Punishment,” Raskolnikov’s intense internal conflict after committing murder drives the narrative tension throughout the novel.
Vehicle for Theme Exploration: Characters’ internal conflicts often embody or reflect the story’s central themes. As characters grapple with their inner struggles, the narrative explores broader ideas and questions.
Example: In William Golding’s “Lord of the Flies,” the boys’ internal conflicts between civilization and savagery reflect the novel’s themes about human nature and society.
Measure of Growth: The evolution of a character’s internal conflict serves as a barometer for their growth and development. How characters approach and potentially resolve their inner struggles demonstrates their arc progression.
Example: In Charles Dickens’ “A Christmas Carol,” Scrooge’s changing attitude towards his internal conflict about wealth and compassion marks his character development.
Complexity and Depth: Internal conflicts add layers of complexity to characters, making them more three-dimensional and realistic. These inner struggles prevent characters from being one-note or predictable.
Example: In Gillian Flynn’s “Gone Girl,” Amy Dunne’s complex internal conflicts about identity and societal expectations create a deeply layered and unpredictable character.
Driver of Decision-Making: Internal conflicts often influence the choices characters make, driving the plot forward and shaping their arc. The tension between conflicting internal desires or beliefs leads to critical decision points in the story.
Example: In William Shakespeare’s “Hamlet,” the protagonist’s internal conflict about whether to avenge his father’s death drives many of his crucial decisions and actions.
Source of Empathy: By exposing characters’ vulnerabilities and inner struggles, internal conflicts create opportunities for readers to empathize and connect with them on a deeper level.
Example: In John Steinbeck’s “The Grapes of Wrath,” the Joad family’s internal conflicts about maintaining hope in the face of adversity foster strong reader empathy.
Reflection of Character Worldview: Internal conflicts often reflect a character’s worldview and how it changes throughout their arc. As characters confront and potentially resolve their inner struggles, their perspective on the world may shift.
Example: In Harper Lee’s “To Kill a Mockingbird,” Scout’s internal conflicts about understanding the adult world reflect her evolving worldview throughout the story.
Indicator of Stakes: The intensity of a character’s internal conflict can indicate the personal stakes involved in their journey. The more significant the inner struggle, the more impactful the potential resolution.
Example: In J.K. Rowling’s “Harry Potter” series, Harry’s internal conflict about his connection to Voldemort intensifies as the stakes of the overall conflict rise.
By incorporating these aspects of internal conflict into character arcs, writers create dynamic, evolving characters that resonate with readers. The journey of confronting and potentially resolving these inner struggles forms the emotional core of many compelling narratives, allowing characters to undergo meaningful transformations that captivate and inspire audiences.
How does external conflict drive plot progression?
External conflict serves as a powerful engine for plot progression, creating momentum, tension, and a sense of forward movement in a story. It provides tangible challenges and obstacles that characters must overcome, shaping the narrative’s structure and pacing. Here’s an exploration of how external conflict drives plot progression:
Inciting Incident: External conflicts often serve as the inciting incident that kicks off the main plot. This initial challenge disrupts the status quo and sets the story in motion.
Example: In J.R.R. Tolkien’s “The Hobbit,” the arrival of Gandalf and the dwarves, presenting Bilbo with the external conflict of a dangerous quest, serves as the inciting incident.
Rising Action: As characters face increasingly difficult external conflicts, the plot’s tension escalates. Each new challenge or obstacle contributes to the rising action, building towards the climax.
Example: In Suzanne Collins’ “The Hunger Games,” Katniss faces a series of escalating external conflicts within the arena, from finding water to battling other tributes.
Plot Points and Turning Points: Significant external conflicts often mark major plot points or turning points in the story. These pivotal moments change the direction of the narrative and raise the stakes.
Example: In George Orwell’s “1984,” Winston’s capture by the Thought Police marks a crucial turning point, dramatically altering the course of the story.
Character Decisions and Actions: External conflicts force characters to make decisions and take actions, driving the plot forward. How characters respond to these challenges shapes the narrative’s direction.
Example: In William Shakespeare’s “Macbeth,” the protagonist’s decisions in response to external conflicts (such as the prophecy and subsequent battles) drive the tragic plot forward.
Pacing and Rhythm: The ebb and flow of external conflicts create a rhythm in the story. Intense conflict scenes can be interspersed with quieter moments, providing a varied pace that keeps readers engaged.
Example: In J.K. Rowling’s “Harry Potter” series, the alternation between school life and confrontations with dark forces creates a dynamic pacing throughout the books.
Revealing Character: How characters respond to external conflicts reveals their true nature, skills, and values. These revelations contribute to character development and often influence plot progression.
Example: In Jane Austen’s “Pride and Prejudice,” how Elizabeth and Darcy handle various social conflicts reveals their characters and drives their relationship’s development.
Creating Subplots: External conflicts can spawn subplots that interweave with the main narrative, adding complexity and depth to the overall story.
Example: In George R.R. Martin’s “A Song of Ice and Fire” series, numerous external conflicts create intertwining subplots that contribute to the rich, complex narrative.
Building to the Climax: The accumulation and intensification of external conflicts build towards the story’s climax. This progression creates anticipation and investment in the story’s resolution.
Example: In F. Scott Fitzgerald’s “The Great Gatsby,” the mounting tensions and conflicts between characters build to the climactic confrontation in the hotel room and its tragic aftermath.
Forcing Character Growth: External conflicts challenge characters, pushing them out of their comfort zones and necessitating growth. This character development, in turn, influences plot progression.
Example: In Harper Lee’s “To Kill a Mockingbird,” the external conflict of Tom Robinson’s trial forces Scout to confront and grow beyond her childish understanding of her town and its people.
Creating Consequences: The outcomes of external conflicts have consequences that propel the story forward, often leading to new conflicts or complications.
Example: In Mary Shelley’s “Frankenstein,” Victor’s creation of the monster (an external conflict) leads to a chain of consequential events that drive the plot.
Revealing Information: External conflicts can serve as vehicles for revealing crucial information or secrets that move the plot forward.
Example: In Agatha Christie’s murder mysteries, the external conflict of solving the crime leads to the gradual revelation of clues and information that progress the plot.
Thematic Exploration: External conflicts often embody or explore the story’s themes. As these conflicts unfold, they contribute to the thematic development of the narrative.
Example: In John Steinbeck’s “The Grapes of Wrath,” the external conflicts faced by the Joad family during the Great Depression explore themes of injustice, resilience, and human dignity.
Creating Narrative Arcs: External conflicts often form the backbone of narrative arcs within the larger story. The introduction, escalation, and resolution of these conflicts create satisfying story structures.
Example: In Homer’s “The Odyssey,” each of Odysseus’s encounters with external conflicts (Cyclops, Sirens, etc.) forms a mini-arc within the overall narrative of his journey home.
By skillfully employing external conflicts, writers create dynamic, engaging plots that keep readers invested in the story’s outcome. These conflicts provide the necessary friction and challenge that make a narrative compelling, driving characters to act, change, and ultimately resolve the central problems of the story. The interplay between characters and their external challenges creates the forward momentum that carries a story from its opening pages to its satisfying conclusion.
What are some techniques for balancing internal and external conflicts?
Balancing internal and external conflicts is a delicate art that can significantly enhance the depth and engagement of a story. When done effectively, this balance creates a rich, multi-layered narrative that resonates with readers on both emotional and intellectual levels. Here are some techniques for achieving this balance:
Interweaving Conflicts: Craft your story so that internal and external conflicts are interconnected. Let external challenges exacerbate or illuminate internal struggles, and vice versa.
Example: In F. Scott Fitzgerald’s “The Great Gatsby,” Gatsby’s external pursuit of Daisy is inextricably linked to his internal conflict about his identity and past.
Alternating Focus: Shift focus between internal and external conflicts throughout the narrative. This technique helps maintain pacing and provides a well-rounded view of the character’s journey.
Example: In J.D. Salinger’s “The Catcher in the Rye,” Holden Caulfield’s external wanderings through New York City are interspersed with his internal musings and struggles.
Parallel Development: Develop internal and external conflicts that mirror or complement each other. As the external situation escalates, so should the character’s internal turmoil.
Example: In William Shakespeare’s “Hamlet,” the escalating external conflict of political intrigue parallels Hamlet’s intensifying internal struggle with indecision and moral duty.
Using Symbolism: Employ symbolic elements or motifs that represent both internal and external conflicts, tying them together thematically.
Example: In Herman Melville’s “Moby-Dick,” the white whale serves as both an external antagonist and a symbol of Ahab’s internal obsession.
Character Reactions: Show how a character’s internal conflicts influence their reactions to external challenges. This technique highlights the interplay between the two types of conflict.
Example: In Charlotte Brontë’s “Jane Eyre,” Jane’s responses to external challenges are shaped by her internal conflict between passion and reason.
Quiet Moments: Intersperse action-driven scenes focusing on external conflicts with quieter, introspective moments that delve into internal struggles.
Example: In Ernest Hemingway’s “The Old Man and the Sea,” Santiago’s physical struggle with the marlin is interspersed with moments of internal reflection on his life and purpose.
Conflict Resolution Interplay: Let the resolution of one type of conflict influence the other. Overcoming an external challenge might help resolve an internal struggle, or vice versa.
Example: In Jane Austen’s “Pride and Prejudice,” Elizabeth’s resolution of her internal conflict about prejudice helps resolve the external conflict in her relationship with Mr. Darcy.
Multiple POVs: In stories with multiple point-of-view characters, use different characters to emphasize different types of conflicts, creating a balanced overall narrative.
Example: In George R.R. Martin’s “A Song of Ice and Fire” series, some characters primarily face external conflicts while others grapple more with internal struggles.
Thematic Consistency: Ensure that both internal and external conflicts contribute to the story’s central themes, creating a cohesive narrative.
Example: In Harper Lee’s “To Kill a Mockingbird,” both the external racial conflicts and Scout’s internal struggles with understanding prejudice reinforce themes of injustice and moral growth.
Pacing Variation: Use the interplay between internal and external conflicts to control the story’s pacing. Intense external conflicts can drive faster-paced sections, while focus on internal conflicts can slow the pace for deeper character exploration.
Example: In Donna Tartt’s “The Secret History,” the pacing alternates between the external events of the murder plot and the protagonist’s internal moral struggles.
By employing these techniques, writers can create a harmonious balance between internal and external conflicts, resulting in a rich, engaging narrative that satisfies readers on multiple levels.
How can internal conflicts complicate external challenges?
Internal conflicts can significantly complicate external challenges, adding layers of complexity to a character’s journey and creating more engaging narratives. This interplay between inner struggles and outer obstacles can create compelling tension and drive character development. Here’s how internal conflicts can complicate external challenges:
Decision Paralysis: Internal conflicts can make it difficult for characters to make decisions when facing external challenges. The inner turmoil can lead to hesitation or indecision at critical moments.
Example: In William Shakespeare’s “Hamlet,” the protagonist’s internal conflict about whether to trust the ghost and seek revenge complicates his external challenge of confronting his uncle.
Self-Sabotage: Characters grappling with internal conflicts might unconsciously sabotage their efforts to overcome external challenges. Their inner struggles can manifest in actions that hinder their progress.
Example: In F. Scott Fitzgerald’s “The Great Gatsby,” Gatsby’s internal conflict about his identity leads him to actions that ultimately complicate his external pursuit of Daisy.
Misinterpretation of Situations: Internal conflicts can color a character’s perception, causing them to misinterpret external situations or the motivations of others. This can lead to poor decisions or unnecessary complications.
Example: In Charlotte Brontë’s “Jane Eyre,” Jane’s internal conflict about her self-worth initially causes her to misinterpret Mr. Rochester’s intentions, complicating their relationship.
Conflicting Goals: Internal conflicts can create goals that are at odds with what’s needed to overcome external challenges. This internal contradiction can make external obstacles more difficult to surmount.
Example: In Suzanne Collins’ “The Hunger Games,” Katniss’s internal conflict about trust and alliance-making complicates her external challenge of surviving the games.
Emotional Vulnerability: Internal conflicts can make characters emotionally vulnerable, potentially exposing weaknesses that others can exploit in external conflicts.
Example: In George Orwell’s “1984,” Winston’s internal conflict about his loyalty to the Party makes him vulnerable to O’Brien’s manipulation.
Distraction: Intense internal conflicts can distract characters from external challenges, causing them to lose focus or miss important details.
Example: In Arthur Miller’s “Death of a Salesman,” Willy Loman’s internal struggles with his sense of failure distract him from addressing his external financial and familial challenges.
Inconsistent Behavior: As characters grapple with internal conflicts, their behavior may become inconsistent or unpredictable, complicating their interactions with others and their approach to external challenges.
Example: In Emily Brontë’s “Wuthering Heights,” Heathcliff’s internal conflict between love and revenge leads to erratic behavior that complicates his relationships and external goals.
Moral Dilemmas: Internal conflicts often involve moral or ethical dilemmas that can complicate how characters approach external challenges. They may be torn between what’s expedient and what’s right.
Example: In Victor Hugo’s “Les Misérables,” Jean Valjean’s internal conflict between his past and his desire for redemption complicates his external challenges throughout the story.
Fear of Success: Sometimes, internal conflicts can manifest as a fear of success, causing characters to unconsciously sabotage their efforts to overcome external challenges.
Example: In Sylvia Plath’s “The Bell Jar,” Esther’s internal conflicts about her identity and future contribute to her struggle with external expectations and opportunities.
Conflicting Loyalties: Internal conflicts about loyalty can complicate external challenges that involve other people or groups.
Example: In J.K. Rowling’s “Harry Potter” series, Snape’s internal conflict about his loyalties complicates his role in the external conflict against Voldemort.
Self-Fulfilling Prophecies: Internal conflicts can lead characters to behave in ways that bring about the very outcomes they fear, complicating their external situations.
Example: In Sophocles’ “Oedipus Rex,” Oedipus’s internal conflict about his identity and fate leads to actions that fulfill the prophecy he’s trying to avoid.
By intertwining internal conflicts with external challenges, writers create more complex and realistic scenarios for their characters to navigate. This complexity not only makes the story more engaging but also provides opportunities for deeper character development and thematic exploration. The struggle to overcome both internal and external obstacles can lead to more satisfying resolutions and character growth, resonating more deeply with readers.
What are some examples of stories that effectively use both conflict types?
Many renowned stories effectively utilize both internal and external conflicts to create rich, multi-layered narratives. Here are some examples from various genres and mediums:
“To Kill a Mockingbird” by Harper Lee:
External Conflict: The racial tensions in Maycomb and the trial of Tom Robinson.
Internal Conflict: Scout’s struggle to understand the complexities of adult morality and prejudice.
“The Lord of the Rings” by J.R.R. Tolkien:
External Conflict: The quest to destroy the One Ring and defeat Sauron.
Internal Conflict: Frodo’s internal struggle with the Ring’s corrupting influence.
“Hamlet” by William Shakespeare:
External Conflict: Hamlet’s quest to avenge his father’s murder.
Internal Conflict: Hamlet’s indecision and moral questioning about revenge.
“The Catcher in the Rye” by J.D. Salinger:
External Conflict: Holden Caulfield’s experiences in New York after being expelled from school.
Internal Conflict: Holden’s struggle with growing up and his fear of adulthood.
“The Great Gatsby” by F. Scott Fitzgerald:
External Conflict: Gatsby’s pursuit of Daisy and the clash between old and new money.
Internal Conflict: Gatsby’s struggle with his identity and his idealized past.
“1984” by George Orwell:
External Conflict: Winston Smith’s rebellion against the totalitarian government.
Internal Conflict: Winston’s struggle to maintain his individuality and humanity.
“Pride and Prejudice” by Jane Austen:
External Conflict: The societal pressures and expectations surrounding marriage.
Internal Conflict: Elizabeth’s struggle to overcome her prejudices and recognize her true feelings.
“The Hunger Games” by Suzanne Collins:
External Conflict: Katniss’s fight for survival in the Hunger Games and rebellion against the Capitol.
Internal Conflict: Katniss’s struggle with trust, loyalty, and her role as a symbol of rebellion.
“The Godfather” by Mario Puzo:
External Conflict: The Corleone family’s conflicts with rival crime families and the law.
Internal Conflict: Michael Corleone’s struggle between family loyalty and his desire for a different life.
“Breaking Bad” (TV series):
External Conflict: Walter White’s entry into the drug trade and conflicts with rival criminals.
Internal Conflict: Walter’s moral decay and struggle with his motivations and identity.
“The Matrix” (film):
External Conflict: The war between humans and machines.
Internal Conflict: Neo’s struggle to accept his role as “The One” and question the nature of reality.
“The Kite Runner” by Khaled Hosseini:
External Conflict: The political turmoil in Afghanistan and Amir’s quest for redemption.
Internal Conflict: Amir’s guilt over his treatment of Hassan and struggle to confront his past.
“Macbeth” by William Shakespeare:
External Conflict: Macbeth’s rise to power and the subsequent challenges to his rule.
Internal Conflict: Macbeth’s moral decay and guilt over his actions.
“The Silence of the Lambs” by Thomas Harris:
External Conflict: Clarice Starling’s hunt for Buffalo Bill.
Internal Conflict: Clarice’s struggle with her past and her complex relationship with Hannibal Lecter.
“The Perks of Being a Wallflower” by Stephen Chbosky:
External Conflict: Charlie’s navigation of high school social dynamics and relationships.
Internal Conflict: Charlie’s struggle with past trauma and mental health issues.
These stories demonstrate how the interplay between internal and external conflicts can create compelling narratives. The external conflicts provide the plot’s framework and drive the action, while the internal conflicts add depth to the characters and explore deeper themes. This combination results in stories that are not only exciting and eventful but also psychologically rich and emotionally resonant.
How can writers create meaningful internal conflicts for their characters?
Creating meaningful internal conflicts is crucial for developing complex, relatable characters and engaging narratives. Here are strategies writers can employ to craft compelling internal conflicts:
Draw from Universal Human Experiences: Base internal conflicts on common human experiences and emotions that readers can relate to.
Example: In J.D. Salinger’s “The Catcher in the Rye,” Holden Caulfield’s internal conflict stems from the universal experience of struggling with the transition from adolescence to adulthood.
Align Conflicts with Character Backstory: Develop internal conflicts that logically arise from a character’s past experiences, traumas, or upbringing.
Example: In Charles Dickens’ “Great Expectations,” Pip’s internal conflict about social class and identity is rooted in his humble origins and subsequent exposure to wealth.
Create Conflicting Desires or Values: Give characters multiple, conflicting desires or values that they must navigate.
Example: In William Shakespeare’s “Hamlet,” the protagonist struggles between his desire for revenge and his moral reservations about murder.
Exploit Character Flaws: Use a character’s weaknesses or flaws as the basis for internal conflict.
Example: In F. Scott Fitzgerald’s “The Great Gatsby,” Gatsby’s obsession with recapturing the past fuels his internal conflict about his identity and relationship with Daisy.
Challenge Core Beliefs: Put characters in situations that force them to question their fundamental beliefs or worldviews.
Example: In Fyodor Dostoevsky’s “Crime and Punishment,” Raskolnikov’s actions force him to confront his beliefs about morality and superiority.
Use Moral Dilemmas: Present characters with difficult moral choices that have no clear right answer.
Example: In Harper Lee’s “To Kill a Mockingbird,” Atticus Finch faces the internal conflict of upholding his moral beliefs in the face of societal pressure and potential danger to his family.
Explore Identity Crises: Have characters question or struggle with their sense of self or place in the world.
Example: In Ralph Ellison’s “Invisible Man,” the protagonist grapples with his identity as a Black man in American society.
Create Tension Between Personal and Professional Lives: Develop conflicts between a character’s personal desires and their professional obligations or societal expectations.
Example: In Arthur Miller’s “Death of a Salesman,” Willy Loman struggles with the conflict between his dreams of success and the reality of his professional failures.
Utilize Internal Contradictions: Give characters personality traits or beliefs that contradict each other, creating inner tension.
Example: In Jane Austen’s “Pride and Prejudice,” Elizabeth Bennet’s quick wit and intelligence conflict with her tendency to make hasty judgments.
Explore Guilt and Regret: Use past actions or decisions as sources of ongoing internal conflict for characters.
Example: In Khaled Hosseini’s “The Kite Runner,” Amir’s guilt over his treatment of Hassan drives his internal conflict throughout the story.
Challenge Character Loyalties: Put characters in situations where they must choose between conflicting loyalties.
Example: In George R.R. Martin’s “A Song of Ice and Fire” series, many characters face internal conflicts due to competing loyalties to family, duty, and personal ambition.
Use External Events to Trigger Internal Conflicts: Have external plot events force characters to confront their inner demons or unresolved issues.
Example: In Stephen King’s “The Shining,” the isolation of the Overlook Hotel triggers Jack Torrance’s internal struggles with addiction and anger.
Explore Fear and Insecurity: Delve into a character’s deepest fears and insecurities as sources of internal conflict.
Example: In Sylvia Plath’s “The Bell Jar,” Esther Greenwood’s internal conflict stems from her fears and insecurities about her future and mental health.
Create Conflicts Between Emotion and Reason: Have characters struggle between what they feel emotionally and what they know rationally.
Example: In Emily Brontë’s “Wuthering Heights,” Catherine Earnshaw’s internal conflict arises from the tension between her passionate love for Heathcliff and her rational decision to marry Edgar Linton.
By employing these strategies, writers can create meaningful internal conflicts that resonate with readers and add depth to their characters. These conflicts not only make characters more relatable and human but also drive character development and contribute to the overall thematic richness of the story. Effective internal conflicts engage readers on an emotional level, inviting them to reflect on their own experiences and moral quandaries.
What are some strategies for escalating external conflicts?
Escalating external conflicts is crucial for maintaining tension, driving the plot forward, and keeping readers engaged. Here are some effective strategies for intensifying external conflicts in a story:
Raise the Stakes: Gradually increase what’s at risk for the characters as the story progresses. This can involve personal, professional, or even global consequences.
Example: In J.K. Rowling’s “Harry Potter” series, the stakes escalate from Harry’s personal safety in the early books to the fate of the entire wizarding world in the later installments.
Introduce New Obstacles: Continually present new challenges or complications that make the conflict more difficult to resolve.
Example: In Homer’s “The Odyssey,” Odysseus faces a series of escalating obstacles on his journey home, from the Cyclops to the Sirens to Scylla and Charybdis.
Tighten Deadlines: Impose or shorten time limits for resolving the conflict, creating a sense of urgency.
Example: In Andy Weir’s “The Martian,” Mark Watney’s external conflict of survival on Mars is escalated by dwindling resources and approaching deadlines for potential rescue.
Reveal Hidden Information: Gradually uncover new information that complicates the conflict or changes its nature.
Example: In Gillian Flynn’s “Gone Girl,” the revelation of Amy’s true nature and actions dramatically escalates the external conflict.
Introduce Powerful Antagonists: Bring in new, more formidable opponents or make existing antagonists more threatening.
Example: In George Orwell’s “1984,” the conflict escalates when Winston is captured and confronted by the full power of the Party and O’Brien.
Create Alliances and Betrayals: Shift the dynamics of the conflict by having characters form or break alliances.
Example: In George R.R. Martin’s “A Song of Ice and Fire” series, the constant formation and dissolution of alliances escalate the conflicts between various factions.
Use the Environment: Make the setting or environment increasingly hostile or challenging.
Example: In Jack London’s “To Build a Fire,” the extreme cold of the Yukon becomes progressively more dangerous as the story unfolds.
Escalate Physical Danger: Increase the level of physical threat or violence in the conflict.
Example: In Suzanne Collins’ “The Hunger Games,” the dangers in the arena escalate from environmental hazards to increasingly violent confrontations between tributes.
Remove Support Systems: Gradually strip away the protagonist’s resources, allies, or safety nets.
Example: In William Golding’s “Lord of the Flies,” the boys’ civilized behavior and support structures gradually break down, escalating the conflict on the island.
Create Cascading Consequences: Let the resolution of one conflict lead directlyto a larger, more complex conflict.
Example: In Christopher Nolan’s “The Dark Knight,” Batman’s capture of the Joker leads to an even more dangerous situation with Harvey Dent’s transformation into Two-Face.
Introduce Moral Complexity: Make the conflict morally ambiguous, forcing characters to make increasingly difficult ethical choices.
Example: In Cormac McCarthy’s “The Road,” the father and son face escalating moral dilemmas as they encounter other survivors in the post-apocalyptic world.
Exploit Character Weaknesses: Use the characters’ flaws or vulnerabilities to make the conflict more challenging for them.
Example: In F. Scott Fitzgerald’s “The Great Gatsby,” Gatsby’s obsession with the past and idealized love for Daisy ultimately leads to the escalation of his conflict with Tom Buchanan.
Create Internal Division: Introduce conflicts within groups or teams that are trying to solve the external problem.
Example: In Agatha Christie’s “Murder on the Orient Express,” the tension among the passengers escalates as suspicions and secrets come to light during the murder investigation.
Use Plot Twists: Introduce unexpected turns of events that dramatically change the nature or scope of the conflict.
Example: In M. Night Shyamalan’s “The Sixth Sense,” the revelation that Malcolm is dead completely reframes the conflict and raises the stakes for his unfinished business.
By employing these strategies, writers can create a dynamic and engaging narrative that keeps readers on the edge of their seats. The key is to gradually increase tension and complexity, making the resolution of the conflict seem increasingly difficult or even impossible. This escalation not only drives the plot forward but also provides opportunities for character growth and thematic exploration.
How do genre expectations influence the balance of internal and external conflicts?
Genre expectations play a significant role in shaping the balance between internal and external conflicts in a story. Different genres often prioritize certain types of conflicts or require specific balances to meet reader expectations. Understanding these genre-specific tendencies can help writers craft stories that satisfy their target audience while still allowing for creative innovation. Here’s how genre expectations influence conflict balance:
Action/Adventure:
Emphasis: Heavily weighted towards external conflicts.
Internal Conflicts: Often focus on courage, loyalty, or moral choices in high-stakes situations.
Example: In Indiana Jones films, external conflicts (e.g., battling Nazis, overcoming deadly traps) dominate, with internal conflicts (e.g., Jones’ relationship with his father) providing character depth.
Romance:
Emphasis: Balance between internal and external conflicts, with a focus on relationship dynamics.
Internal Conflicts: Often involve emotional barriers, trust issues, or personal growth.
External Conflicts: Typically include obstacles to the relationship or competing love interests.
Example: In Jane Austen’s “Pride and Prejudice,” the external conflict of societal expectations balances with the internal conflicts of pride and prejudice in the main characters.
Mystery/Thriller:
Emphasis: Strong focus on external conflicts (solving the mystery or stopping the threat), with internal conflicts adding depth.
Internal Conflicts: Often relate to the detective’s personal life or past traumas.
Example: In Arthur Conan Doyle’s Sherlock Holmes stories, the external conflicts of solving cases are primary, while Holmes’ internal struggles with boredom or drug use add complexity.
Science Fiction:
Emphasis: Often balances external conflicts (e.g., alien invasions, dystopian societies) with internal conflicts exploring human nature or ethical dilemmas.
Internal Conflicts: Frequently involve questions of identity, humanity, or moral choices in the face of advanced technology.
Example: In Philip K. Dick’s “Do Androids Dream of Electric Sheep?”, the external conflict of hunting replicants is balanced with internal conflicts about the nature of humanity and empathy.
Fantasy:
Emphasis: Typically features significant external conflicts (e.g., quests, battles) with internal conflicts providing character depth.
Internal Conflicts: Often involve coming-of-age themes, discovering one’s true nature, or grappling with power and responsibility.
Example: In J.R.R. Tolkien’s “The Lord of the Rings,” the external conflict of destroying the One Ring is balanced with internal conflicts about power, corruption, and sacrifice.
Literary Fiction:
Emphasis: Often prioritizes internal conflicts, with external conflicts serving as catalysts or backdrops.
Internal Conflicts: Frequently explore complex psychological states, existential questions, or societal issues.
Example: In Virginia Woolf’s “Mrs. Dalloway,” internal conflicts about identity, memory, and social expectations dominate, with external events providing structure.
Horror:
Emphasis: Balances external threats with internal fears and psychological struggles.
Internal Conflicts: Often involve confronting personal fears, trauma, or moral boundaries.
Example: In Stephen King’s “The Shining,” the external threat of the haunted hotel is intertwined with Jack Torrance’s internal struggles with addiction and anger.
Historical Fiction:
Emphasis: Often balances external conflicts of the historical setting with internal conflicts of characters navigating those times.
Internal Conflicts: Frequently involve characters grappling with the values and limitations of their era.
Example: In Hilary Mantel’s “Wolf Hall,” Thomas Cromwell faces both the external political conflicts of Henry VIII’s court and internal conflicts about ambition and loyalty.
Young Adult (YA):
Emphasis: Often features a mix of external conflicts (e.g., school, family, societal issues) and internal conflicts related to identity and growth.
Internal Conflicts: Frequently focus on self-discovery, acceptance, and navigating relationships.
Example: In John Green’s “The Fault in Our Stars,” the external conflict of dealing with cancer is balanced with internal conflicts about love, mortality, and meaning.
Crime/Noir:
Emphasis: Balances external conflicts (solving crimes, navigating dangerous situations) with internal moral struggles.
Internal Conflicts: Often involve grappling with cynicism, moral ambiguity, or personal demons.
Example: In Raymond Chandler’s Philip Marlowe novels, the external mysteries are balanced with Marlowe’s internal struggles with his own moral code in a corrupt world.
Understanding these genre expectations allows writers to:
- Meet reader expectations while still finding room for innovation.
- Subvert genre norms intentionally for creative effect.
- Blend genres effectively by combining conflict types in unique ways.
- Market their work accurately to the right audience.
- Structure their stories to satisfy genre-specific narrative arcs.
While adhering to genre expectations can help create satisfying stories for target audiences, skilled writers often find ways to play with these expectations, creating unique blends of internal and external conflicts that push the boundaries of their chosen genre while still engaging readers.
