How to Write the Main Conflict of the Story — The Engine of a Narrative

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How to Write the Main Conflict of the Story — We look at one of the most important elements of storytelling: Conflict.

How to Build Conflict in your Script ►►
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Chapters:
00:00 - Introduction to Conflict in Film
00:53 - Conflict in Film Defined
01:51 - Chapter 1: Inner Conflict
05:25 - Chapter 2: Personal Conflict
09:42 - Chapter 3: Extra Personal Conflict
11:23 - Chapter 4: Deep Dive: Hereditary
14:05 - Takeaways

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HOW TO WRITE BETTER CONFLICT FOR BEGINNER WRITERS

You can't have a story without conflict. This may sound like a massive generalization, but it's true. Even the most nonlinear and meander narratives contain conflict. This is because conflict refers to a character's goals hitting an obstacle. A character's goals may be subtle, and the obstacles may be minuscule, but they are always present in a story. Today, we look at the different kinds of conflict, and how screenwriters can use them.

INTERNAL CONFLICT

Inner conflict, or internal conflict, occurs within a character. This type of conflict often revolves around moral dilemmas, self-doubt, or a clash between what a character wants to do and what they need to do. A character’s internal turmoil is often not spoken but shown through their actions, or inactions. For example, a protagonist might be torn between following their ambition and maintaining their integrity. The audience should feel the weight of this conflict as the character makes decisions throughout the film.

PERSONAL CONFLICT

Personal conflict stems from a character’s relationships with others, such as antagonists, or friends, family, or romantic partners (or both). This conflict is often emotional and rooted in opposing goals, values, or personalities. To write personal conflict effectively, consider what the character needs versus what their relationships demand. For example, in a romantic film, two characters might love each other but have wildly different life plans, creating friction and driving the story forward. In many cases, these conflicts serve as emotional anchors for the audience, as they can easily relate to the complexities of human relationships.

EXTERNAL CONFLICT

Extrapersonal conflict comes from forces outside the individual, like societal norms, nature, or a larger entity like the government. For example, in dystopian films, a character might fight against an oppressive regime, adding layers of stakes and danger. Extrapersonal conflict can be achieved through vivid world-building, establishing high stakes, and showing how the larger conflict impacts the character's personal life or inner struggles. Balancing this external pressure with inner and personal conflict can create a rich, multidimensional narrative that keeps the audience invested.

Conflict is the motor of a story: without it, a narrative is adrift. Next time you're writing your script, think carefully about what types of conflict you're using, and how they inform character and each other.


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♬ SONGS USED:

“The Alien“ - Ben Salisbury
“Khazad-Düm“ - Howard Shore
“Andy’s Birthday“ - Randy Newman
“The Concrete Cell“ - Bear McCreary
“The Wampa’s Lair“ - John Williams
“Walk Hard“ - John C Reilly
“Nature’s Masterpiece“ - Benjamin Wallfisch
“Hand Covers Bruise“ - Trent Reznor & Atticus Ross
“Theme From To Kill A Mockingbird“ - Elmer Bernstein
“Home“ - Henry Hall
“Phone Call“ - Bernard Herrmann
“Fight“ - Nigel Godrich
“Walk Unafraid“ - R.E.M.
“Office SPace End Credits“ - John Frizzel
“Liberation Begins“ - A. R. Rahman
“Party, Crash“ - Colin Stetson
“Mourning“ - Colin Stetson
“Mothers Daughters“ - Colin Stetson
“Aftermath“ - Colin Stetson
“Battle For Pride Rock“ - Hans Zimmer
“Election Opening Credits“ - Rolfe Kent
“The Test Worked“ - Ben Salisbury

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