types of conflict - world building

person vs person - between two people - a hero and a villain - the mc's goal is obstructed by another person - Victor Hugo's les misérables

person vs technology - a person faces technology - between a person / group of people and an object of science - technology refers to science over magic - Mary Shelley's frankenstein

person vs nature - a person faces nature - the effects of nature on the human world - the mc's goal (long- or short-term) is obstructed by an element of nature / a natural force - John Green's a fault in our stars

person vs society - a person faces a collective group of people - a smaller group of people vs a large group of people - their goal is obstructed by this group of people - Suzanne Collins' the hunger games

person vs supernatural - a person faces a supernatural subject - this tends towards the magic, although similar to person vs. technology in a sense - fate, magic forces, otherworldly beings, religion, deities - Rick Riordan's Percy Jackson

person vs self - conflict between a person and their inner self - may be conflicted with their own feelings - can have two opposing goals - Fyodor Dostoevsky's crime and punishment

7 Types of Internal Conflict for Your Protagonist

External conflict can always make readers more interested in a story. The fist fights, car chases, and fictional battles might make them hold their breath, but so can internal conflict. Check out the primary types of internal conflict your protagonist can experience to add more depth to your stories.

1. Morality Conflicts

Everyone eventually reaches a point where they question their morals. We have to believe in our morals as individuals to prioritize them. It’s not enough to have your parents or other leaders in your life tell you what’s right and wrong. You won’t hold the same morals until you choose them on your own.

Characters also reach these crucial points. It’s part of their character development like it’s part of our personal development. 

Your protagonist may only grapple with one question of morality in your story or they could encounter many. The morals will most likely align with your theme so they make sense within your plot.

Example: Your protagonist is a scientific researcher and leading a trial that could result in a cure for a new illness. They know they shouldn’t take bribes and wouldn’t compromise their career, but someone who nearly qualifies for their trial offers a life-changing amount of money to get included even though they’ve already been ruled out. The protagonist has to choose—do they stick with what they trust is morally correct or do they take the money and use it to help pay for a family member’s legal battle in criminal court? Do they view it as potentially saving two lives at once? Or do they reject the bribe and face whatever consequences could have possibly been avoided?

2. Self-Identity Conflicts

Your identity is something that morphs with time. People rarely settle on one version of themselves forever. Life makes us reconsider things from different perspectives as we go through periods of challenges and peace. Characters also grapple with their identities when faced with similar situations. It makes them take a stand, hold their ground, or chase new goals, which is much more interesting for readers.

Example: Your protagonist considers themselves an optimist because they’re a firefighter who has saved many lives. When they realize their chief has been starting all the fires their station ever fought, your protagonist begins to view people more pessimistically. It affects how quickly they’re willing to risk their life for others, which results in challenges and a character arc they wouldn’t have experienced without this fundamental change in their identity.

3. Religious Belief Conflicts

It’s much easier to stay firm in your religious beliefs if nothing challenges them. If a challenge or major question arises and your beliefs hold firm, that makes your identity stronger. It doesn’t always happen that way though.

When your protagonist faces this type of internal conflict and realizes their opinions or feelings contradict their religious beliefs, it can take them onto a path that shapes a new identity. These choices are hard but real. Readers who are going through the same experience or experienced the same questions before will get absorbed by your story because it’s relatable.

Example: Your protagonist attends a religious gathering every week. The group fundamentally believes their religion exists to help those in need. Prejudices begin to invade that group, so people start choosing their own well-being instead of helping others. Your protagonist watches their religious family pick sides and has to question if they really believe in helping others or if they choose the familiarity and safety that comes with the approval of their longtime religious family.

4. Societal Role Conflicts

Societies have predetermined roles or expectations for people based on factors like their gender, sex, and economic status (just to name a few). Sometimes these roles feel natural to people and other times they don’t. We all have to decide what feels best for us on an ongoing basis. Your protagonist may need to choose their societal role, reject it, or shape a new one to portray your theme in a relatable way.

Example: Your protagonist goes to a university for the first time. They’ve been encouraged by everyone they know to start forming a large friend group. That’s what people are supposed to do in college, their loved ones said. But your protagonist is an introvert and values only a few friendships at a time. They have to choose if they’ll push themselves to become a social butterfly or if they’re happier as the person they’ve always been.

5. Political Opinion Conflicts

Political opinions can create all types of internal conflict. You may believe in a certain candidate or party during one part of your life and support something completely different in another part. Those values change as we experience new things and meet new people. Characters can face the same internal struggles as they recognize changing values or reject opportunities for change.

Example: Your protagonist may have never formed strong political opinions. They meet a new person who becomes their best friend, but their government starts passing laws that make their best friend’s life much harder because they’re part of a marginalized community your protagonist hasn’t empathized with before. Your protagonist now cares for that community, so they have to decide if they’ll make different political choices that could ostracize them from the community they’ve been part of all their life. 

6. Love Conflicts

There are numerous types of love—self-love, your love for your family, and your love of a potential romantic interest or current partner. These come into conflicts in stories all the time because people experience them every day.

The conflicts result in choices—does your protagonist choose to continue loving a specific person or do they fall out of love? Do they fight for that love or realize it never actually existed? These are just a few ways this inner conflict can play out.

Example: Your protagonist has three siblings. They’d give their life for their siblings because they’ve lived in an emotional and physical home environment that’s been unsafe all of their lives. However, your protagonist is also the oldest child who has to leave home when they’re 18. They have to decide how to best love their siblings—do they leave them at home with a parent who is a threat to their safety so your protagonist can achieve an education or job that pays enough to create a new home for them? Do they get the legal system involved? Do they get their siblings and run away together since your protagonist is now old enough to lease an apartment, pay bills, etc?

7. Personal Journey Conflict

Existential crises make characters come to life by breaking their identity apart. These moments are unfortunately a real part of life, so readers want them in their books to help them cope, understand the changes, and generally feel not alone in their hardships.

This internal conflict happens when we question why we’re in this world or what we’re supposed to do with our lives. Sometimes there’s a clear answer after we start searching for it, but other times there isn’t. How your protagonist’s internal journey to a new purpose unfolds depends on your theme and plot.

Example: Your protagonist spent their life dreaming of becoming a politician. They wanted to help people and change the world, but they lost their first three attempts at running for local office. The third loss devastated them. If voters don’t want them as a leader, what’s their purpose? Who are they if they aren’t a leader who changes the world through effective policies? The answer may come through the plot events that follow. If they don’t get an answer, sometimes it means their purpose already exists in their life and they’re overlooking it.

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Reading through the basic types of internal conflict will help you shape your future protagonists. If you align your desired theme with an inner conflict, the external events in your plot will be much easier to choose. Your readers will also connect with your story better because they’ll see real problems reflected in your protagonist’s character arc.

birds of the same feather?

Dc x dp prompt

Death defying 2/2

Nightwing was kidnapped by a cult as a sacrifice to the ghost king, and the cultists dramatically ripped off Nightwing’s mask when the Ghost King appeared.

The problem? Danny had just left Dick a few days ago since Dick seemed to be avoiding him(Dick was busy with vigilante work and police work) and was not expecting to find out his ex was a vigilante.

Damn, does this mean he has a type?

There's a disabled angel in good omens 🥺

you know now that i’ve finished gomens s2 i could probably write an essay on my mixed feelings. what about when a work is - especially so in some parts - very fucking good. thematically interesting and consistent, characterisation that is so painfully human and told in a fascinating manner. but due to a lack of conclusion - inherent because of the format (tv series) - it feels an inherently different sort of narrative to the original. i do not think good omens season two is bad - not at all, but what i do think is it is now a very fundamentally different type of story than that of the book. not because the events of the show don’t happen in the book but because the style of storytelling is altogether different. it’s inherently going to be the case when one of the original creators has sadly passed on, and it doesn’t necessarily make it bad - however it does make it not what personally made me love the book of good omens in the first place. maybe it’s because i came in with certain expectations given that i have read a lot of sir terry pratchett’s other work and basically none of neil gaiman’s, but it’s just a different format of story. like the difference between an epic poem and a serialised story.

scoutbot identity crisis #true

"are people not into that?" i ask, after posting my weird niche shit to the internet, despite knowing it to be weird niche shit.

sergle i thought you didn't like ppl objectifying you :/

god okay this gave me whiplash. make sure you remember how to read before proceeding. sound words out for a friend or family member if you need to. People Being Thirsty in my general direction is different from people like. seeing me only as JO material. I Don't Like people thinking they're smooth as hell trying to dm me what they assume women want to hear. Describing some cringe ass shit. I Do Like a compliment. I even like a compliment that is clearly thirsty. I don't think "I've jacked off to you" is a compliment. not from yall anyway. super controversial, I know. a fat fetish blog following me and reblogging my selfies Is objectification. someone being vaguely horny can be good, or bad, or funny and I show it to ppl on discord and laugh- depends on the specifics. Most of the people following me are too uwu to even get close to the line. they've backed so far away from the line out of fear that they tripped over something while they were backing up and it was embarrassing for them. People trying to push me into sex work specifically while I'm fundraising, because they know I'm more vulnerable at that time and they want to take advantage of me needing money, is definitely sexual harassment, that's definitely me being objectified. the ask I just got, though, was not that. 😭 just telling me that some girls think I'm hot? that is tepid as hell. thinking someone is attractive isn't objectifying them. all attraction is not objectification. please. work with me here

So uh… I might end up with a live action f/o…

aro culture is constantly hearing about relationships drama and being glad you never have to deal with it first hand

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Conflict Narrative

Conflict narrative is the type of plot a story follows. Describing and writing for a type of conflict narrative is the driving force for the plot. Any show, movie, book, play - everything follows a type of conflict narrative or several conflict narratives.

This post will be explaining the several categories and then how to write for them.

Internal vs. External Conflicts

Internal : this is a conflict that happens within a character. It relates deeply to statc vs. dynamic characters, referring to my former post. It often leads to character development or the lack thereof, because the character(s) are actively fighting their own desires and beliefs.

External : this is set against the character(s). It’s a physical manifestation often, and the external forces stand in the way of a character(s)’s goals and dreams, creating tension and opposition. 

Often, these come together and a story SHOULD include both to create an interesting and realitistic narrative. After all, real life always includes both internal and external conflicts.

Six types of Literary Conflicts 

*side note : man refers to the human race (or whatever species the protagonist happens to be) and not the gender.

Man vs. Self : It’s self-explanatory. This is an internal conflict where Man may be trying to decide what is morally correct in a situation or how to improve their mental health. (ex. Les Miserables or The Handmaid’s Tale.)

Man vs. Man : It’s a direct competition between two characters. One Man’s wants is conflicting with another Man. This conflict can take the form as something small, such as a fist fight, or can encompass the entire plot as a fight for power. (ex. The Secret Garden or The Hunger Games.)

Man vs. Nature : It’s also self-explanatory. It can be a survival situation where Man is striving to survive a tsunami, or it can be a Planet of the Apes situation. (ex. Moby Dick or Into the Wild.)

Man vs. Supernatural : Man is fighting against something that is not manifested into out reality. This is usually used in horror and fantasy and science fiction. Man could be fighting ghosts to a big, murderous lizard. (ex. Scooby-Doo or It.)

Man vs. Technology : In another form, it can be worded as tradition vs. progress, depending on the defition of ‘progress’ in the novel in question. It can be something science fiction-y such as fighting robots to a tell-tale about the importance of tradition. (ex. Farenheit 451 or A Wrinkle In Time.)

Man vs. Society : This is where Man is going against a large, driving force that controls society. An example is the government, social norms, or traditions. They either are attempting to survive or fight against the external conflict. (ex. Lord of the Flies or 1984.)

How do you write and create conflicts?

It is good to note what type of genre it is and what the general plot will be. Usually, just from the gist, it is obvious what at least one conflict is. However, most books include at least two or three. when trying to conjure up the conflict, ask these questions :

What is the protagonist(s)’s main desire?

What is their unconcious desire?

What is the worst thing that can happen to this character?

What characters, institutions, or forces can bring this antagonism into relaity (if it isn’t already)?

What is/are the character(s) like and how do they create friction in the conflict?

These genral questions will reveal a lot when it comes to the nature of the plot. you can read any book, watch any movie or show, play any video game, and ALL of them will exhibit at least two of the conflicts above and flesh it out (at least, if it’s a good form of entertainment).

Hot take of the day is that I think sanderson not letting adolin murdering sadeas have any real consequences killed like 95% of interesting debate on the morality of it

did nobody ask you for red letter day? absurd! *I* wanna know about red letter day!

hello captain and friend anon!!! I KNOW I HAVEN'T UPDATED THIS IN SIX MILLION YEARS SO THANK YOU FOR THESE ASKS <333

okay SO the first thing is, you have to understand, my list of documents for this fic looks like this:

anyway i do love this fic even though it FIGHTS ME; it's supposed to have both Fights and Mysteries and both are hard to write 😅

anyway hmmm i'm going to cheat by including a Dick POV section that I am probably gonna end up cutting, because i like it but i also worry that it slows down the dialogue?

excerpt below the cut! the only context that you need is that Dick and Tim have been having the "should Tim call if there's danger in Gotham" argument again (Tim's position is "no"), partly because they both have genuine positions on this argument, but also because it enables them to sublimate an emotional conflict into a work conflict and thus avoid talking or thinking about their feelings, which is a shared pathology goal:

Dick would bet Tim never mouthed off to Bruce like this.  One of the many things that suck about being the knock-off Batman is that none of Dick’s orders really stick.  All of the responsibility without the authority to back it up.  At least when Dick was leading the Titans, they did what he freaking told them. …Mostly. …Okay, sometimes. The awful truth is—and he tries not to dwell on it because it’s pointless and doesn’t achieve anything, but—everything with Tim, sometimes it reminds him of the worst times with the Titans.  The same uneasy feeling of dread, like he’s grabbing for someone who’s slipping through his fingers.  Roy’s crossed arms.  The clock creeping toward midnight, staring at the champagne, knowing in his heart that Kory wasn’t coming.  After Tartarus: watching Roy walk out of the room, watching Donna follow him, staring at Vic’s back, Kory’s back, all of them walking out, and no one left but the newcomers.  When the personal is so fucked up that all you can do is double-down on the professional, and even that doesn’t help, and then— (Get a grip, Grayson.) And anyway, this isn’t like the Titans, is it?  Dick was out-of-line, there, in retrospect. He’s never been good at losing people gracefully.  Pushing Kory for marriage when she was already pulling away, trying to cling to her instead of letting her go.  Giving ultimatums after Tartarus, when he knew the team already resented his orders.  Making decisions behind Vic’s back, trying to force him to stay.  It’s an ugly bad habit, picked up from Bruce: things are slipping, and your people are mad at you, so you get scared, and then you get authoritative and controlling so you can hang onto them, except you can’t control them, so then they get even angrier and you lose them anyway.   It’s easy to see in Bruce, hard to see in himself, but he knows it’s there.  He barely managed to catch himself in time, with the Titans.   Is he doing the same thing to Tim?  Does he need to back off? But Gotham is risky.  Tim’s always been capable, obviously, but…it’s okay to be a bit authoritative, isn’t it?  Tim should call if there’s someone who looks unusually dangerous.  That’s just common sense.  Dick’s not asking for miracles, here.