Story conflict doesn’t need to involve violence.
by Becca Puglisi
Story conflict has many purposes. It provides opportunities for failure and growth, elevates what’s at stake, and escalates emotion for the character and readers. We also know that our stories will need many instances of conflict, both at the story (macro) and scene (micro) level. But how do we know what kinds to add to the mix?
First and foremost, conflict must further the story. There are lots of interesting and compelling scenarios that we authors might like to pursue. But, as with every aspect of storytelling, we must separate ourselves from the process to make sure we’re not projecting ourselves — our interests and desires — onto the character and the story.
Sure, we might want to write a drunken brawl scene, but would that scenario be likely for our protagonist? Will it reveal something about the character, like a weakness or need, or is it just there to “spice up” a boring scene?
The best way to incorporate convincing conflict scenarios into a story is to pull them organically from the elements that are already there. Conflict is lurking all around your characters and the story world, so grab a stick and start poking to see what shakes loose.
START WITH THE STORY’S CAST
Where does most of our conflict come from in real life? That’s right: other people. Loved ones, extended family, roommates, co-workers, neighbors, friends, complete strangers—each one can cause us grief on a number of levels. The same is true for our characters. Anyone interacting with them is a potential source for trouble.
This is why planning your story’s cast ahead of time can be so beneficial. Think about what kinds of people might have crossed swords with your character at some point, will rub him the wrong way, or have goals that are in opposition to his own. Think about which traits might get under your character’s skin. What attitudes or morals will be difficult for him to accept?
Then — you guessed it — build characters with those traits, habits, histories, and goals into the story. If each character stays true to form, tensions will inevitably rise.
Not a planner? Not a problem. When you need a reasonable conflict scenario that will provide a certain outcome, consider who in the character’s life you could use to make that happen.
This handy directory of adversaries might provide inspiration in this area.
LET YOUR CHARACTERS TALK
Once you’ve assembled your cast, just let them talk, and conflict is sure to follow. Dialogue is a great troublemaker because it can cause minor, surface-level tension or set the ball rolling for something huge, like the end of a relationship or a global clash. You’re already including it in your story, so make it do double duty and use it to initiate problems for your character.
Here are just a few conversational techniques you can use to generate conflict in a scene.
Unintentional Clashes
So much of conflict is unintentional — meaning, the person causing the problem isn’t trying to ruffle feathers. Often, it comes down to basic personality quirks, such as someone who is always interrupting, a tactless party who unknowingly causes offense, or a chronic multitasker who doesn’t listen carefully and makes your character feel undervalued. Of course, any of these irritations can be applied to the protagonist instead of the other party, and you get the same result.
Enough of these slight aggravations can add up throughout one conversation (or over the course of many) and lead to explosions.
When a character loses control of their emotions, they are much more apt to speak their mind, cut the other person down, or reveal information they meant to hold back. And what do all of these responses lead to? More conflict.
Confrontational Communicators
Purposeful conflict in dialogue can be subtle or overt, depending on the situation and the goal. The character may be looking to manipulate an exchange to achieve a specific outcome, inflame emotions, damage a reputation, or completely eviscerate an enemy with words.
Characters who are purposely looking to cause trouble in a conversation might…
- Make a threat or say something to intimidate
- Deploy insults, sarcasm, and belittlement
- Manipulate the conversation toward a topic or away from one
- Shift the focus to someone else to put them in the hot seat
- Purposely ask about something that will make the other person uncomfortable
- Deceive the other party through lies, omissions, and exaggerations
- Bring up a sensitive topic to provoke an emotional reaction
- Reveal a secret, stance, or mistake to damage a rival’s standing in the group
- Ask questions the character knows the other person can’t answer, making them look bad
- Call the protagonist out (for a mistake, something they said or did, etc.) to steal their self- esteem
- Deliberately provoke an argument
- Make insinuations (about someone’s loyalty, capabilities, etc.) to sow doubt
- Make a derogatory statement and pass it off as a joke
- Suggest disloyalty if the other party doesn’t agree, which forces them to do just that
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When two or more characters are battling it out in conversation, each is seeking the upper hand. The exchange may appear respectful if others are watching. A certain level of decorum must be observed. In these cases. So it may not be what the characters say as much as how they say it,. Or what doublespeak or innuendo they can safely deploy to score a hit that will go over someone’s head.
When a comment does leave a mark, show it using body language, facial tics, and vocal shifts. Reveal the character’s waning level of emotional restraint.
Opposing Motivations
One of the main drivers for conflict in dialogue is that the parties involved don’t always have the same purposes. One person might be trying to connect with the protagonist while the protagonist only wants to gain information. One may be seeking to protect a secret while the other is trying to bring it to light. Another person might be pursuing a conversation because they want to show off their knowledge while the other participant only wants to prove their own rightness.
Motivation plays a huge part in conflict development at all story levels because conflict typically arises when characters don’t get what they want. So when you’re planning your protagonist’s conversations, consider what they’re after. What are they hoping to achieve through that discussion? Then pit them against someone whose goal is in opposition to theirs.
This is just a sampling of the conversational techniques you can use to generate authentic conflict. If you’re ever at a loss for ideas, think about the conversations you’ve recently had that irked you, even a little bit. Examine the tactics involved and add them to your character’s interactions with others.
For more information on how to effectively and genuinely add this important storytelling element to your writing, check out The Conflict Thesaurus: A Writer’s Guide to Obstacles, Adversaries, and Inner Struggles.
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by Becca Puglisi (@beccapuglisi) November 14, 2021
What about you, scriveners? Do you let your characters talk? Do you find it difficult to create conflict in your stories? Can you create conflict without physical violence?
About Becca Puglisi
Becca is an international speaker, writing coach, and bestselling author of The Emotion Thesaurus and other resources for writers. Her books have sold over 700,000 copies and are available in multiple languages, are sourced by US universities, and are used by novelists, screenwriters, editors, and psychologists around the world.
She is passionate about learning and sharing her knowledge with others through her Writers Helping Writers blog and via One Stop For Writers — a powerhouse online resource for authors that’s home to the Character Builder and Storyteller’s Roadmap tools.
BOOK OF THE WEEK
The latest thesaurus by Becca Puglisi and Angela Ackerman.
More at Writers Helping Writers
Don’t give your character a break. Keep the hits coming with a variety of obstacles that will force them to work harder to get what they want. With over 100 entries arranged in a user-friendly format, The Conflict Thesaurus is the guide you need to write intense and satisfying fiction readers won’t forget.
Thanks, you just gave me some ideas!
I’m so glad, Alex! Thanks for stopping by :).
Becca—thanks for a great recap of conflicts minor and major we have all experienced and can bring to our work to make our stories universal. Indispensable!
As writers, I think we sometimes get stuck thinking along the same conflict lines—especially within certain genres or storylines. But there are SO many options. If we just take some time to brainstorm, we can usually come up with something new that fits our story and helps make it more original. 🙂
Great material to help with a new series I’m starting. Thanks, Becca! I just hippety-hopped to the Zon shop and downloaded it. 🙂
The more conflict, the better the plot. And like you said, the best conflict come from other people, especially those closest to us.
Great post, Becca.
It sad, but true, lol. Family, close friends, mentors—characters open themselves up to these people and make themselves vulnerable. So when conflict happens with the people they’re closest to, the sparks really fly.
Marvelous analysis Ms. Puglisi. I think in epic fantasy we have a lot of natural avenues to conflict. Maybe not all with talking. Roaring, sometimes, or slithering, yes… but occasionally arguments for variety.
I’m fascinated by situations where the conflict is definite even though the stakes are small. I have a minor character who’s a good enough guy, but he just wants to be a good soldier and has learned to hate hearing questions because they always lead to more chores. And of course he gets sucked in every time. The conflict sort of forces him to become a better person, not that he likes that, but I’m hoping the reader comes to like him better too.
Thank you for this helpful advice, Becca. I especially like your encouragement to draw from my life. It’s been my experience that scenes that were inspired by the author’s life have an extra dose of authenticity.
Leanne, this is so true. When we look at our own conflicts for inspiration, not only will those scenarios likely be relatable to readers, but we’re able to zero in on the details that make each conflict unique. If those details work for our characters and their situation, it can keep our conflicts from becoming stale and clichéd.
Thanks. This is a really helpful post. I will post the link on my blog.
I’m so glad you got something from it, Ross. And thanks for sharing!
Great article, Becca! There are so many opportunities to add personality quirks through conflict in dialogue. The Conflict Thesaurus is a great resource.
I’m so glad you’re happy with it, Kay! I think this book in particular has a lot to offer authors of all skill levels and experience.
Excellent post. Dialogue is probably one of my few consistent areas of fun. I like playing around with language in a variety of ways and depending of the time period I’m writing in. Most, if not all, of my character’s personality I’ve drawn from the real world, so I try to pattern their speaking behaviors after them. Kind of fun if you really think about it.
Strong dialogue is so important. It’s not something many people think a lot about, but if we don’t get it just right, it immediately sticks out as unrealistic, not ringing true for readers. It’s definitely worth it to spend some extra time on dialogue. 🙂
Great post.
I’m half way through Benjamin Saenz’s YA novel, *Aristotle & Dante Dive into the Waters of the World*. Saenz is a genius at dialogue like this — real arguments, “play” arguments, teasing arguments, even internal arguments.l Thanks for reminding me I need to appreciate that particular genius.
Sounds like something for my To Read list :).
This is a great post. I copied and pasted some helpful info about confrontational dialogue and such. I loved the examples. Thank you, Becca.
I’m so glad you found something to get you thinking. Best of luck with your writing, Patricia!
Oh, thanks for picking up a copy, Garry. I hope you get a lot of use out of it 🙂
As real people, we don’t like the conflict that makes us into better people, and neither will our characters. Characters should always mirror real life, and it sounds like you’ve figured out how to apply this important principle to your conflict, which is only going to make your writing stronger. Good job!
“Dialogue is a great troublemaker because it can cause minor, surface-level tension or set the ball rolling for something huge, like the end of a relationship or a global clash.”
You nailed it, Becca. Superb post as always. Thanks!
Hi, ladies! *waves*
Thanks, Sue! Good to see you 🙂
Hi Anne,
I have been trying to write a story myself. After falling out of habit, I have restarted writing, and I am currently focusing on dialog writing. I think adding a bit of conflict between characters would be a great way to make the story interesting, and your article really helped me in deciding in which direction I want the story to go. Thanks for mentioning so many examples of communication, it really has been a great help. Looking forward to trying my hand at conflict writing.
Thanks for the great article about conflict! Going off on a tangent: Conflict is one form of adversity. We can subject story characters to geological adversity (storms and earthquakes), biological adversity (predators and sickness), social adversity (conflicts), and psychological adversity (internal conflicts). Social and internal conflicts are often mutually dependent, hence, smart characterization, as explained above, will inevitably give rise to conflict.
Stephan–Good insight here. And we look forward to your guest post in February..