Conflict and the Interplay of Inner and External Conflict in Writing
In the vast landscape of storytelling, conflict stands as a cornerstone, propelling narratives forward and engaging audiences on emotional journeys. While it’s something you’d ideally settle on while outlining your story, in reality, things often unfold differently. We’ll delve deeper into this later. However, it’s essential to reiterate its significance, as memories tend to be fleeting, especially in the chaotic world of storytelling.
The depth and complexity of a narrative often depend on more than just the clash of external forces. Indeed, the interplay between inner conflict—the turmoil within characters’ hearts and minds—and external conflict—the obstacles they face from the world around them—adds layers of richness and resonance to the tales we tell. Combine that with how you can play with narrators and characters, and you have something truly special and unique that you can craft. For now, let’s explore each element on its own.
Understanding Inner Conflict
At its core, inner conflict manifests as the struggle within a character’s psyche. It’s the battleground where desires clash with fears, where values compete against doubts, and where preconceptions clash with reality. Take, for instance, the conflicted protagonist torn between duty and desire, or the antagonist grappling with remorse amidst their ambitions. These internal struggles humanize characters, driving their arcs and inviting readers into their innermost thoughts and feelings.
Portraying inner conflict effectively requires nuance and subtlety. We often employ techniques such as internal dialogue, allowing readers direct access to characters’ thoughts and emotions. Flashbacks and memories offer glimpses into characters’ pasts, revealing the roots of their inner turmoil. However, pay close attention to this, both of you: their inner conflict is revealed in how they act and react. In my honest and very much biased opinion, the only way to convey inner conflict effectively is to color how a character goes through the story by what their inner turmoil is. An insecure character won’t just go about the story thinking about their insecurities or talking about them (well, if they are insecure, they won’t talk about it unless they utterly trust another character, but you get the point). Instead, they will behave insecurely. They would avoid whatever conflict triggers them, they will be cowardly, and they will be bold only in situations where they feel utterly comfortable. The arcs of insecure characters are often the most satisfying to read. Why? Well, because once they bloom, it’s such a wondrous sight to behold. Something so rare to watch happen is a joy to see and a privilege to witness. The opposite is true for bold characters—they will be bold in every situation. The question that you should never forget when it comes to inner conflict, Timmy, and you too, Neophyte, is the fact that it poses the question “where does the insecurity come from?” or “why is this character bold?”.
Exploring External Conflict
External conflict arises from the clash between characters and the world beyond themselves. It encompasses a broad spectrum of challenges, from physical confrontations to societal pressures, from natural disasters to supernatural adversaries. Whether it’s the protagonist battling a rival, navigating treacherous terrain, or challenging societal norms, external conflict drives the plot forward, testing characters’ resolve and resilience.
The types of external conflict are as diverse as the stories they inhabit. There’s the classic man vs. man conflict, where characters face off against each other in direct confrontation. Man vs. nature conflict sees characters pitted against the elements, struggling to survive against the forces of the natural world. Man vs. society conflict arises when characters clash with the norms, expectations, and injustices of the societies they inhabit. Finally, man vs. supernatural conflict introduces elements of the fantastical and the otherworldly, challenging characters with forces beyond mortal comprehension.
This represents every type of conflict ever put to page (or screen), ranging from a monster on the loose needing to be stopped to two countries at war and a hero needing to save the day. They can be as complex as the human nervous system or as simple as a hammer hitting a nail. At the pre-writing phase, which we are not even close to finishing yet, you shouldn’t worry too much about the depth of the external conflict; it will come from the characters as you write. What you should be mindful of is how it will color and set the path for characters. If there are consequences for how it affects things, then they should be permanent, not happening as the plot needs it.
Interplay Between Inner and External Conflict
What makes storytelling truly compelling is the interplay between inner and external conflict. Indeed, these two forms of conflict are often deeply intertwined, each shaping and exacerbating the other. Inner conflict can color characters’ perceptions of external challenges, influencing their decisions and actions. Conversely, external conflict can serve as a crucible, intensifying characters’ inner turmoil as they grapple with external obstacles and threats.
Consider, for instance, the hero torn between their personal desires and the responsibilities thrust upon them by external circumstances. Their inner conflict—their doubts, fears, and desires—can either hinder or propel them in their quest to overcome external challenges. It can lead them to solve the problems ahead of them in one way while they are unable to see another, better option. Similarly, the villain driven by inner demons—trauma, obsession, or ambition—may find their external machinations thwarted by their own inner turmoil, leading to their downfall.
Yes, Timmy, I know that I have just used many important-sounding words, but this is important. What? What do you mean? Everything that I say is important, you little… anyway, Neophyte here can help you later. For now, let us continue.
Enhancing Narratives through Conflict Interplay
The interplay between inner and external conflict enriches narratives in myriad ways. By intertwining characters’ internal struggles with external challenges, writers create multi-dimensional characters and dynamic plots that resonate with readers on a profound level. Characters become more relatable as readers witness their innermost thoughts and emotions, while plots become more engaging as characters navigate the complexities of their inner and outer worlds. Or in plain English, if you make a superhero that is a cut board from the side of a box, people won’t care about it.
By embracing the interplay between inner and external conflict, we can elevate our storytelling to new heights. Rather than treating inner and external conflict as separate entities, writers should strive to integrate them seamlessly, allowing each to inform and amplify the other. This synergy between inner and external conflict not only adds depth and complexity to narratives but also offers readers a more immersive and rewarding reading experience.
No, Timmy, this is not about augmented reality; this is about quality storytelling. No, Timmy, we don’t have holograms yet. What I am talking about is making a story good enough for the reader to get lost in. It’s not complicated, just not easy, and… Neophyte, can you calm Timmy down, please? Where was I?
Of Characters and Narrators
Now, this is a lengthy topic for another day, but I feel it behooves me to mention it here. This equation, and yes, Timmy, this is getting a bit mathematical, but fret not, I am using this as an example, has three other variables to unravel. Who the narrator is, which is the mental distance, and how the story is being told. The first is the most straightforward of the three: first person or third person? Omniscient or limited? The second one is a bit tricky. It boils down to how close and personal we’re getting. Does the audience get to know the intimate thoughts of a character? Of several? Or is it a cold and distant voice telling the story? Speaking of which, how is the story being told? A chronicle being told years after the fact? Or in the heat of the moment? All of this, which we will delve into eventually, will determine how the readers perceive the conflict in the story, how it is filtered, and how the information is understood before it reaches the audience.
Case Studies and Analysis
To illustrate the power of conflict interplay in storytelling, let’s examine a few notable examples from literature. In George Orwell’s “1984,” protagonist Winston Smith’s inner conflict—his desire for freedom and individuality in the face of a totalitarian regime—fuels his rebellion against the oppressive external forces of the Party. Similarly, in J.K. Rowling’s “Harry Potter” series, Harry’s inner struggles—his grief, guilt, and identity crisis—shape his external battles against the dark forces threatening the wizarding world.
In both cases, the interplay between inner and external conflict adds depth and nuance to the narratives, elevating them beyond mere tales of good versus evil. By exploring characters’ innermost thoughts and emotions, these stories resonate with readers on a deeply personal level, inviting them to empathize with the characters’ struggles and triumphs.
Conclusion
Conflict lies at the heart of storytelling, driving characters’ arcs and propelling plots forward. Yet, it’s the interplay between inner conflict and external conflict that truly enriches narratives, which you combine with the narrator, the psychic distance, and how the story is filtered, and you end up adding layers of complexity and richness with very little effort. By understanding and leveraging this interplay, you can create stories that resonate with readers long after the final page is turned, leaving a lasting impact on hearts and minds.
You… yes, Timmy? Oh, I am not baking a cake… yes, I used the word “layers,” but… no, no, it’s fine. Yes, you can go have lunch now… Neophyte, please remind me not to have a class right before lunchtime though the schedule for this week… darn.
