Discover the surprising conflict types that can drive your story forward, from internal struggles to external tensions.
Overall, exploring both internal and external tensions can add depth and complexity to a story, but it’s important to balance these elements and use them effectively to drive the plot forward. By carefully crafting conflict and building towards a satisfying resolution, writers can create a compelling and engaging story that keeps readers hooked until the very end.
Contents
- What is Character Tension and How Does it Drive Your Story Forward?
- Exploring the Role of Emotional Turmoil in Conflict Types
- Antagonistic Forces: Understanding External Obstacles to Create Compelling Stories
- Overcoming Outer Obstacles: Strategies for Building Climactic Resolution
- Common Mistakes And Misconceptions
What is Character Tension and How Does it Drive Your Story Forward?
| Step |
Action |
Novel Insight |
Risk Factors |
| 1 |
Understand character tension |
Character tension is the internal conflict that a character experiences throughout the story. It is the struggle between what the character wants and what they need. |
It can be difficult to create a character with relatable and compelling tension. |
| 2 |
Identify character motivation |
Character motivation is the driving force behind a character’s actions and decisions. It is what they want and what they are willing to do to get it. |
If the character’s motivation is not clear or believable, the tension will not be effective. |
| 3 |
Develop the story arc |
The story arc is the structure of the story, including the rising action, climax, falling action, and resolution. It is important to develop the story arc in a way that allows for the character tension to build and be resolved. |
If the story arc is not well-developed, the tension may not be resolved in a satisfying way. |
| 4 |
Create emotional stakes |
Emotional stakes are the consequences of the character’s actions and decisions. They are what the character stands to gain or lose. It is important to create emotional stakes that are meaningful and impactful. |
If the emotional stakes are not high enough, the tension may not be compelling. |
| 5 |
Establish external conflict |
External conflict is the conflict between the protagonist and the antagonist. It is important to establish external conflict that is related to the character tension. |
If the external conflict is not related to the character tension, it may not drive the story forward effectively. |
| 6 |
Drive the narrative forward |
Narrative drive is the momentum of the story. It is important to drive the narrative forward in a way that keeps the reader engaged and invested in the character’s journey. |
If the narrative drive is not strong enough, the tension may not be effective. |
| 7 |
Allow for character growth |
Character growth is the development and change that the character experiences throughout the story. It is important to allow for character growth that is related to the character tension. |
If the character does not experience growth, the tension may not be resolved in a satisfying way. |
Exploring the Role of Emotional Turmoil in Conflict Types
| Step |
Action |
Novel Insight |
Risk Factors |
| 1 |
Identify the conflict type in your story |
Emotional turmoil can play a role in any conflict type, whether it is internal or external |
Over-reliance on emotional turmoil can lead to melodrama and a lack of depth in character development |
| 2 |
Determine the emotional stakes for your characters |
Emotional turmoil can heighten the stakes for characters, making the conflict more intense and engaging for readers |
Overuse of emotional turmoil can lead to emotional exhaustion for readers and a lack of investment in the characters |
| 3 |
Explore the psychological conflict at play |
Emotional turmoil can stem from deeper psychological conflicts, such as unresolved trauma or conflicting desires |
Over-simplification of psychological conflict can lead to shallow character motivations and a lack of authenticity |
| 4 |
Consider the moral and ethical quandaries involved |
Emotional turmoil can arise from characters facing difficult moral or ethical decisions, adding complexity to the conflict |
Overuse of moral and ethical dilemmas can lead to a didactic or preachy tone in the narrative |
| 5 |
Examine the personal struggles of your characters |
Emotional turmoil can stem from personal struggles, such as addiction or mental illness, adding depth to character development |
Overuse of personal struggles can lead to stereotyping and a lack of nuance in character portrayal |
| 6 |
Develop interpersonal tensions |
Emotional turmoil can arise from conflicts between characters, adding tension and conflict to the narrative |
Overuse of interpersonal tensions can lead to a lack of focus on the central conflict and a feeling of disjointedness in the narrative |
| 7 |
Ensure emotional turmoil drives the narrative arc |
Emotional turmoil should be integral to the plot progression and climax resolution, driving the story forward |
Overuse of emotional turmoil can lead to a lack of resolution and a feeling of unresolved tension in the narrative |
| 8 |
Use emotional turmoil to explore themes |
Emotional turmoil can be used to explore themes such as identity, loss, and redemption, adding depth and meaning to the narrative |
Overuse of theme exploration can lead to a heavy-handed or didactic tone in the narrative |
Overall, emotional turmoil can be a powerful tool in creating engaging and complex conflicts in storytelling. However, it is important to use it judiciously and ensure that it is integrated into the narrative in a way that adds depth and authenticity to the characters and plot.
Antagonistic Forces: Understanding External Obstacles to Create Compelling Stories
| Step |
Action |
Novel Insight |
Risk Factors |
| 1 |
Identify the external obstacles in your story |
External obstacles can come in many forms, such as physical barriers, societal norms, or opposing characters |
Be careful not to rely solely on external obstacles, as internal conflicts are equally important for a compelling story |
| 2 |
Choose obstacles that create tension and conflict |
The obstacles should challenge the protagonist and create a sense of urgency |
Be mindful of creating obstacles that feel contrived or unrealistic |
| 3 |
Use obstacles to reveal character and drive the plot forward |
The way the protagonist responds to obstacles can reveal their strengths, weaknesses, and motivations |
Avoid using obstacles solely for the sake of creating conflict, as they should serve a purpose in the story |
| 4 |
Introduce obstacles gradually and strategically |
Too many obstacles at once can overwhelm the reader and detract from the story |
Be mindful of pacing and ensure that each obstacle builds upon the previous one |
| 5 |
Use obstacles to create a sense of crisis and heighten the stakes |
The obstacles should create a sense of urgency and make the reader invested in the outcome |
Be careful not to create obstacles that feel insurmountable, as this can lead to a lack of tension and conflict |
| 6 |
Resolve obstacles in a satisfying and believable way |
The resolution should feel earned and not come out of nowhere |
Be mindful of creating a deus ex machina, where the obstacle is resolved too easily or conveniently |
Overcoming Outer Obstacles: Strategies for Building Climactic Resolution
| Step |
Action |
Novel Insight |
Risk Factors |
| 1 |
Identify the outer obstacles |
Outer obstacles are external factors that prevent the protagonist from achieving their goal. |
The risk of not identifying the outer obstacles is that the story may lack tension and conflict. |
| 2 |
Determine the protagonist‘s goal |
The protagonist’s goal is what they want to achieve by the end of the story. |
The risk of not determining the protagonist’s goal is that the story may lack direction and purpose. |
| 3 |
Create a plan for the protagonist to overcome the obstacles |
The plan should be specific and tailored to the protagonist’s strengths and weaknesses. |
The risk of not creating a plan is that the protagonist may appear passive and the story may lack tension. |
| 4 |
Introduce the antagonist |
The antagonist is the character or force that opposes the protagonist. |
The risk of not introducing the antagonist is that the story may lack conflict and tension. |
| 5 |
Build tension through rising action |
Rising action is the series of events that lead to the climax. |
The risk of not building tension is that the story may lack excitement and interest. |
| 6 |
Reach the climax |
The climax is the highest point of tension in the story. |
The risk of not reaching the climax is that the story may lack resolution and catharsis. |
| 7 |
Resolve the conflict |
Conflict resolution is the process of resolving the tension between the protagonist and antagonist. |
The risk of not resolving the conflict is that the story may lack closure and satisfaction. |
| 8 |
Show character growth |
Character growth is the process of the protagonist changing and developing throughout the story. |
The risk of not showing character growth is that the story may lack depth and meaning. |
| 9 |
Provide tension release |
Tension release is the process of releasing the tension built up throughout the story. |
The risk of not providing tension release is that the story may leave the reader feeling unsatisfied. |
| 10 |
End with a satisfying resolution |
A satisfying resolution is one that ties up loose ends and provides closure for the reader. |
The risk of not ending with a satisfying resolution is that the reader may feel disappointed and unsatisfied. |
Common Mistakes And Misconceptions
| Mistake/Misconception |
Correct Viewpoint |
| Conflict only refers to external tensions between characters or groups. |
Conflict can also refer to internal struggles within a character, such as their own fears, doubts, and desires. These internal conflicts can drive the story forward just as much as external ones. |
| All conflicts must be resolved by the end of the story. |
Not all conflicts need to be fully resolved by the end of the story; some may remain unresolved or have open-ended conclusions that leave room for interpretation. Additionally, not all conflicts need to have a clear winner or loser – sometimes both sides can come out changed in some way. |
| Conflict is always negative and should be avoided if possible. |
While conflict can certainly create tension and drama in a story, it doesn’t necessarily have to be seen as entirely negative. In fact, many stories rely on conflict (both internal and external) to drive character growth and development throughout the narrative arc. As long as it serves a purpose in advancing your plot or themes, conflict can actually enhance your storytelling rather than detract from it. |