The War Within vs. The Battles Outside: A Deep Dive into Internal & External Conflict
- Bair Klos
- Feb 28
- 21 min read
Conflict is the beating heart of every great story. Without it, there’s no reason to turn the page. A story without conflict is like a game with no stakes—why play if nothing’s on the line? You have to give them a why—why should they care, why does this story matter, why should they spend their precious time reading it?
The answer? You need to make your protagonist struggle, suffer, and fight for what they want, or your readers won’t care. But conflict isn’t just about epic sword fights, dramatic betrayals, or escaping from a burning building. It’s also about doubt, guilt, fear, and the internal battles raging inside your character.
That’s where internal vs. external conflict comes in. The best stories don’t rely on just one—they weave both together seamlessly, creating a narrative that’s gripping, emotionally resonant, and deeply human. Internal struggles pull your characters apart from the inside, while external obstacles push them to their limits. But how do you balance them? And how do you ensure that your protagonist’s internal struggles don’t get overshadowed by external chaos (or vice versa)? Let’s break it down!
Table Of Contents |
What Is Conflict in Storytelling?
Conflict is the backbone of storytelling. Without it, your characters are just wandering around, sipping tea, and contemplating life with zero stakes. Conflict creates tension, drives the plot, and forces characters to grow.
The Two Primary Types:
External Conflict → The obstacles, antagonists, and forces that stand in the protagonist’s way.
Internal Conflict → The emotional and psychological struggles that shape their decisions and arc.
The most compelling stories use both, intertwining them so that external struggles trigger internal dilemmas, and internal struggles complicate how the character handles external obstacles.
External Conflict: The Forces Against Your Protagonist
External conflict is what most people think of when they hear “conflict.” It’s the physical, social, or situational obstacles that create tension and opposition in a story. Your protagonist has a goal, and something (or someone) is trying to stop them.
Types of External Conflict:
Person vs. Person: Classic hero vs. villain, rivalries, or power struggles. (Harry Potter vs. Voldemort, Sherlock Holmes vs. Moriarty)
Person vs. Nature: Surviving harsh environments, natural disasters, or hostile creatures. (The Revenant, The Martian)
Person vs. Society: Fighting oppression, systemic injustice, or societal expectations. (The Hunger Games, Les Misérables)
Person vs. Fate/Supernatural: Struggles against destiny, gods, or forces beyond their control. (Oedipus Rex, The Matrix)
Person vs. Technology: Battling artificial intelligence, robots, or the consequences of scientific progress. (The Terminator, Black Mirror)
Example: External Conflict in Action
The Hunger Games → Katniss Everdeen is thrown into an arena where she must fight to survive. That’s the external conflict. The government, the other tributes, and the rules of the game are all obstacles she must overcome.
But external conflict alone isn’t enough—if Katniss was just fighting to stay alive without any emotional stakes, the story wouldn’t resonate as deeply. That’s where internal conflict comes in.
Internal Conflict: The War Inside
Internal conflict—sometimes referred to as the "third rail" of storytelling—is the emotional, psychological, or moral struggle within a character. While external conflict creates action, internal conflict creates depth. It’s what makes characters feel real—because no one goes through life without doubts, fears, or personal demons.
Internal conflict, or the "third rail," is what powers the story forward—without it the story won't move. External events and obstacles might keep the plot in motion, but it’s the character’s internal struggle—their fears, desires, and misconceptions—that gives the story its emotional power and keeps readers invested.
Without strong internal conflict, a story will feel hollow. The character may face challenges, but if they don’t have a deeply personal, unresolved issue driving their reactions and decisions, the stakes won’t feel compelling. The third rail of internal conflict ensures that every external challenge forces the protagonist to reckon with their own inner demons, making the story feel meaningful and inevitable rather than just a sequence of events.
Types of Internal Conflict:
Fear & Self-Doubt: A character doesn’t believe they’re strong enough, worthy enough, or capable enough. (Frodo in The Lord of the Rings)
Moral Dilemmas: A character is torn between what’s right and what’s easy. (Hamlet, Breaking Bad)
Trauma & Regret: Past wounds shape their present decisions and prevent them from moving forward. (Tony Stark in Iron Man 3)
Desires vs. Responsibilities: A character wants something, but their duty or circumstances hold them back. (Elsa in Frozen)
Example: Internal Conflict in Action
In The Hunger Games, Katniss isn’t just fighting to survive—she’s torn between self-preservation and her growing desire to rebel against the Capitol. Her guilt, fear, and resistance to vulnerability shape her actions just as much as the external dangers do.
This is where great storytelling happens—when the internal and external conflicts feed off each other.
The Push-and-Pull Between Internal & External Conflict
Internal and external conflicts are not separate entities—they are deeply intertwined. A character’s internal fears, desires, and flaws shape how they respond to external events. Likewise, external obstacles force internal growth (or destruction). The best stories make it so that internal and external conflicts are inseparable, each feeding into the other to create a rich, layered narrative.
Great stories don’t rely on just one—they intertwine internal and external conflict so that one fuels the other. External conflict forces your protagonist into situations where their internal struggles become unavoidable, and internal conflict shapes how they respond to those external challenges.
A character with only external conflict → Becomes a shallow action hero, facing obstacles without any personal stakes.
A character with only internal conflict → Feels like they’re stuck in their head, without anything actually happening in the story.
In short: External conflict is what happens. Internal conflict is why it matters.
Common Mistakes to Avoid
One of the biggest mistakes writers make with conflict is keeping internal and external struggles separate instead of allowing them to influence each other. For example, a knight who is terrified of failing (internal) might hesitate in battle (external), causing a devastating loss that deepens their self-doubt. On the flip side, external pressures can bring internal struggles to the surface—like a character forced into an arranged marriage realizing their true desire for freedom. Another common pitfall is relying too much on external conflict (endless action with no emotional stakes) or overloading internal conflict (a character stuck in their own head with nothing actually happening). The strongest stories balance both, ensuring every punch thrown, every lie told, and every decision made is shaped by what’s happening both inside and outside the character.
The Different Types of Internal Conflict
If I'm starting to sound like a broken record... Sorry not sorry. I need to make sure you get this into your head. Internal conflict is what makes characters feel real. It can come in many forms, but they all boil down to a character fighting themselves in some way. It’s the war between who they are and who they could become, the struggle between desires and fears, and the tension between what they think they want and what they actually need.Here are some of the most common types of internal conflict that can shape a character’s journey:
1.) Moral Dilemmas
The classic “right vs. wrong” struggle. A character is torn between doing what is right and what is easy, personal, or beneficial. Often, this kind of conflict forces them to decide what kind of person they truly are when faced with an ethical crossroads.
Example:
In Les Misérables, Jean Valjean struggles with whether to turn himself in as a fugitive or continue living under a new identity to help others.
2.) Fear vs. Desire (The Push-Pull Conflict)
A character desperately wants something, but fear, trauma, or past experiences hold them back. This conflict is compelling because it forces the character to grow past their self-imposed limitations.
Example:
Frodo in The Lord of the Rings wants to complete his mission, but the burden of the Ring—and the fear of what it is doing to him—makes him hesitant to continue.
3.) Identity & Self-Worth Struggles
Who am I? Am I good enough? A character may battle self-doubt, imposter syndrome, or a fractured sense of identity. Their arc will often involve coming to terms with who they truly are, not who the world tells them to be.
Example:
Zuko in Avatar: The Last Airbender struggles between his father’s expectations, his own moral compass, and his ultimate desire for honor.
4.) Duty vs. Personal Happiness
A character must choose between responsibility and personal fulfillment. This is common in stories where a character is bound by tradition, family expectations, or a larger mission—but deep down, they crave something else.
Example:
In Mulan, she feels torn between her family’s expectations of who she should be and the warrior she knows she is inside.
5.) The Lie They Believe
One of the most powerful internal conflicts is when a character believes a fundamental lie about themselves or the world—and the story forces them to confront the truth.
Example:
Elsa in Frozen believes that isolation is the only way to stay in control, but she learns that love, not fear, is the key to mastering her powers.
6.) Past Trauma & Regret
A character’s unresolved past wounds affect their present decisions. They may struggle with guilt, shame, or grief, which creates hesitation, avoidance, or self-sabotage. Their arc is about either healing or succumbing to their past.
Example:
Bruce Wayne in Batman is haunted by the murder of his parents, fueling both his drive for justice and his inability to live a normal life.
7.) Logic vs. Emotion
A character is caught between what makes sense logically and what feels right emotionally. This can manifest in a scientist who rejects belief in the supernatural, a detective who refuses to trust their instincts, or a hero who must decide between duty and love.
Example:
Spock in Star Trek constantly struggles between his Vulcan logic and his human emotions.
8.) Fear of Change vs. Need for Growth
A character knows they need to change but resists it. Whether it’s fear of failure, fear of the unknown, or fear of losing what’s familiar, their struggle is about whether they’ll take that leap—or stay stuck.
Example:
Bilbo Baggins in The Hobbit initially refuses the call to adventure, preferring his comfortable life in the Shire, but ultimately finds the courage to leave.
9.) Love vs. Independence
A character wants love but fears losing themselves in it. They struggle with trust, vulnerability, or past wounds that make them hesitant to open their heart.
Example:
In Pride and Prejudice, Elizabeth and Darcy must overcome pride, prejudice, and misunderstandings before they can admit their true feelings.
10.) Free Will vs. Fate (Destiny vs. Choice)
A character struggles between accepting their fate or defying it. They may resist a prophecy, fear they are doomed to repeat history, or grapple with whether they even have control over their own path.
Example:
Neo in The Matrix doesn’t believe he’s “The One” and must struggle with the idea of destiny versus free will.
11.) The Desire for Power vs. The Cost of Power
A character craves influence, strength, or control, but getting it requires sacrificing something important. They must decide if the price is worth paying—or if they are becoming the very thing they once opposed.
Example:
Walter White in Breaking Bad tells himself he’s cooking meth to provide for his family, but his true internal conflict is between his growing thirst for power and what’s left of his moral compass.
12.) The Need to Belong vs. The Need to Be True to Oneself
A character longs for acceptance but feels like they must hide their true self to fit in. They struggle between conforming to expectations or embracing their individuality.
Example:
In The Little Mermaid, Ariel longs to be part of the human world but risks losing her voice—literally and figuratively.
13.) Trust vs. Self-Reliance
A character fears depending on others due to past betrayals or personal pride. They wrestle with whether they can truly trust someone else or if they are better off alone.
Example:
The Mandalorian in The Mandalorian starts as a lone bounty hunter but struggles with learning to trust and care for Grogu.
14.) Fear of Success
A character wants to succeed, but deep down, they fear what success will bring—responsibility, expectations, or even the loss of their old identity. This can lead to self-sabotage or avoidance.
Example:
In Good Will Hunting, Will has the talent to change his life but actively avoids opportunities out of fear of leaving behind what’s familiar.
15.) Love vs. Duty
A character is torn between their love for someone and their greater responsibility. Whether it’s romantic, familial, or loyalty-based, they must choose between their heart and their obligation.
Example:
Jon Snow in Game of Thrones loves Ygritte but ultimately chooses his duty to the Night’s Watch over their relationship.
16.) Hope vs. Despair
A character fights against the temptation to give up. Whether due to external hardship or personal demons, they struggle between clinging to hope or succumbing to despair.
Example:
Frodo in The Lord of the Rings nearly gives in to despair as the Ring’s burden grows, but Sam’s unwavering hope keeps him going.
17.) Rationality vs. Instinct
A character is caught between cold logic and raw emotion. They must decide whether to follow their intellect or trust their gut feelings.
Example:
In Sherlock Holmes, Sherlock constantly grapples with emotions he refuses to acknowledge, favoring reason over human connection.
18.) The Past vs. The Future
A character clings to the past or is haunted by it, preventing them from moving forward. Their arc revolves around letting go, embracing change, or confronting what they’ve been avoiding.
Example:
In The Lion King, Simba runs from his past until he realizes he must face it to reclaim his place as king.
19.) Guilt vs. Justification
A character has done something morally questionable and struggles with whether they should feel guilt or justify their actions. This type of conflict is especially potent for anti-heroes and morally gray characters.
Example:
Macbeth in Macbeth wrestles with his guilt after committing murder, but also justifies it in his quest for power.
20.) Innocence vs. Experience
A character starts with a naïve, idealistic view of the world but slowly loses their innocence as they experience hardship, betrayal, or loss. The struggle is whether to hold onto their beliefs or embrace the harsher truths of reality.
Example:
In To Kill a Mockingbird, Scout Finch slowly learns about racism and injustice, transitioning from innocence to awareness.
This isn’t an exhaustive list, but it covers the most common—and some of the more nuanced—types of internal conflict.
Internal struggles come in endless variations, shaped by the character’s personality, history, and circumstances. The best internal conflicts are deeply personal, emotionally raw, and impossible to ignore—pushing characters toward growth, change, or even self-destruction.
As you’ve probably noticed, internal conflicts rarely exist in isolation. A hero torn between love vs. duty might also grapple with trust vs. self-reliance, questioning whether they can lean on others while fulfilling their responsibilities. The more these conflicts overlap, the richer and more layered the character’s journey becomes, forcing them to confront their deepest fears and desires in a way that feels organic and compelling.
The Spectrum of External Conflict
External conflict is what drives the plot and forces characters into action. It can range from direct physical confrontations to systemic pressures and environmental struggles. The best stories often layer multiple types of external conflict to raise the stakes and deepen the protagonist’s journey. Because it isn’t just about fighting villains—it’s about how forces outside a character’s control shape their journey.
1.) Character vs. Character (Interpersonal Conflict)
The classic external conflict: one person against another.
Can be physical (a duel, a battle) or psychological (manipulation, betrayal).
Often fuels rivalries, personal vendettas, and moral dilemmas.
Examples:
Harry Potter vs. Voldemort (Harry Potter series)
Sherlock Holmes vs. Moriarty (Sherlock Holmes stories)
Jean Valjean vs. Inspector Javert (Les Misérables)
2.) Character vs. Society
The protagonist fights against laws, traditions, or social expectations.
Can be a rebellion against oppression or simply struggling to fit in.
Often tied to themes of justice, freedom, or self-expression.
Examples:
Katniss Everdeen vs. The Capitol (The Hunger Games)
Winston Smith vs. Big Brother (1984)
Celie vs. Racism & Sexism (The Color Purple)
3. Character vs. Nature
The protagonist must survive against the elements—storms, deserts, animals.
Emphasizes resilience, adaptation, and survival instincts.
Often features man as insignificant in the face of nature’s power.
Examples:
Pi vs. the Ocean & Tiger (Life of Pi)
Brian vs. the Wilderness (Hatchet)
Dr. Mann vs. the Ice Planet (Interstellar)
4.) Character vs. Fate/Destiny
A character struggles against a predetermined path, prophecy, or divine will.
Can explore free will vs. fate, duty vs. desire, or existential themes.
Often found in myths, fantasy epics, and philosophical narratives.
Examples:
Oedipus vs. Prophecy (Oedipus Rex)
Achilles vs. His Fate (The Iliad)
Paul Atreides vs. His Destiny (Dune)
5.) Character vs. The Supernatural
The protagonist must deal with forces beyond human understanding.
Ghosts, gods, monsters, magic—anything beyond the natural world.
Often overlaps with Character vs. Fate or Character vs. Self.
Examples:
Dr. Frankenstein vs. His Creation (Frankenstein)
Ichabod Crane vs. The Headless Horseman (The Legend of Sleepy Hollow)
Danny Torrance vs. The Overlook Hotel (The Shining)
6.) Character vs. Technology
A struggle against machines, artificial intelligence, or scientific advancement.
Can explore themes of ethics, humanity, and progress vs. destruction.
Often found in science fiction but increasingly relevant in modern narratives.
Examples:
John Connor vs. Skynet (The Terminator)
Neo vs. The Machines (The Matrix)
Dr. Susan Calvin vs. AI Ethics (I, Robot)
7.) Character vs. The Unknown
A character faces an external force that is alien, eldritch, or completely unfamiliar.
Often tied to fear of the unknown, isolation, or cosmic horror.
Can be psychological (paranoia, madness) or literal (extraterrestrial life, deep-sea horror).
Examples:
The Crew vs. The Xenomorph (Alien)
The Town vs. The Mist (The Mist)
Lovecraftian Protagonists vs. Ancient Gods (The Call of Cthulhu)
8.) Character vs. War/Conflict
A character is caught in the midst of war, whether as a soldier, civilian, or leader.
Can explore survival, morality in battle, or the cost of war.
Often a backdrop for Character vs. Society or Character vs. Self.
Examples:
Paul Bäumer vs. The Horrors of WWI (All Quiet on the Western Front)
Frodo & Sam vs. The War for Middle-earth (The Lord of the Rings)
Katniss vs. The Rebellion’s Cost (Mockingjay)
9.) Character vs. Systemic Oppression
The protagonist struggles against deeply entrenched power structures.
This can be political, economic, racial, or gender-based oppression.
Often overlaps with Character vs. Society, but with an emphasis on injustice.
Examples:
Offred vs. The Patriarchy (The Handmaid’s Tale)
Starr Carter vs. Racial Injustice (The Hate U Give)
V vs. Totalitarian Government (V for Vendetta)
10.) Character vs. Time
The protagonist races against time, struggles with aging, or deals with time travel.
Creates urgency, existential dread, or philosophical reflection.
Can overlap with Character vs. Fate, Character vs. Nature, or Character vs. Self.
Examples:
The Crew vs. Time Dilation (Interstellar)
Marty McFly vs. Time Paradoxes (Back to the Future)
Benjamin Button vs. Reverse Aging (The Curious Case of Benjamin Button)
11.) Character vs. Illness/Disability
The protagonist must navigate life with physical or mental illness.
Can be about personal resilience, societal stigma, or medical ethics.
Often deeply intertwined with Character vs. Self.
Examples:
Hazel & Gus vs. Cancer (The Fault in Our Stars)
John Nash vs. Schizophrenia (A Beautiful Mind)
Will Graham vs. His Hyper-Empathy (Hannibal)
12.) Character vs. Memory/Past
A character struggles with amnesia, repressed memories, or past trauma.
Can be psychological (haunted by guilt) or literal (uncovering lost truths).
Often creates Character vs. Self conflict within an external framework.
Examples:
Leonard vs. His Amnesia (Memento)
The Narrator vs. His Own Identity (Fight Club)
Joel & Clementine vs. Erased Memories (Eternal Sunshine of the Spotless Mind)
What makes external conflict engaging isn’t just what the character fights, but what it forces them to confront within themselves—their fears, limits, and sense of identity.
The Role of Subtext in Conflict: The Power of What’s Left Unsaid
Subtext is the art of conveying meaning beneath the surface of dialogue, actions, and descriptions. It’s what a character really means, really feels, or really thinks—but without stating it outright. Subtext allows writers to create depth, tension, and authenticity by trusting readers to pick up on implied emotions, motivations, and underlying themes rather than spelling everything out. A well-crafted scene packed with subtext can say more in a single look or unfinished sentence than pages of explicit explanation.
For example, instead of writing:
❌ “I’m really angry at you for what you did.”
A character might say:
✅ “Oh, don’t worry about it. You always do whatever you want anyway.”
The second version tells us that the character is angry, but instead of outright admitting it, they use passive aggression, sarcasm, or even resignation. This forces the reader to read between the lines, making the scene feel more natural and emotionally charged.
How Subtext Works in Writing
1.) Dialogue with Hidden Meaning – People rarely say exactly what they mean, especially when emotions are high. A character might dodge a question, use sarcasm, or speak in half-truths to mask their real feelings.
Example:
Instead of “I miss you,” a character might say, “I was at our old spot today. It’s changed.”
2.) Body Language & Action as Subtext – What a character does can often reveal more than what they say. Clenched fists, a forced smile, or shifting eyes can contradict spoken words, showing an internal struggle or concealed emotions.
Example:
A character saying “I’m fine” while gripping the edge of a table so tightly their knuckles turn white tells the reader they are not fine.
3.) Situational Subtext – Sometimes, subtext emerges from the situation itself. A scene between two ex-lovers pretending to be polite at a dinner party but avoiding eye contact speaks volumes about their unresolved tension.
4.) Symbolism & Repetition – Objects, settings, or repeated phrases can carry subtextual meaning. If a character always removes their wedding ring before making a decision, it tells the reader something about their emotional state without outright saying it.
5.) Contrast Between Inner & Outer Conflict – A character’s external conflict might mask their internal struggles, and what they don’t do or say can be just as revealing as what they do. If a character avoids a subject entirely, that silence itself can be powerful.
Why Subtext Matters
Subtext creates tension without direct confrontation—a conversation can feel like a battlefield without a single insult being spoken. Mastering subtext allows writers to layer conflict into every interaction, making scenes feel rich and engaging. Keep in mind that not all conflict is loud and explicit—some of the most powerful moments are subtle, unspoken, and laced with tension. Subtext is the conflict beneath the surface, where characters say one thing but mean another, or where body language contradicts dialogue.
Subtext deepens emotional impact, makes dialogue feel more natural, and invites readers to engage actively with the story. Instead of spoon-feeding every thought and feeling, it allows readers to piece together the truth themselves—creating a richer, more immersive reading experience. So don't just consider what's on the page, consider what might linger beneath the surface.
Weaving Conflict into Every Scene
A piece of advice I heard years ago that has stuck with me for scene writing is this: Just like the overarching plot of a book, each scene should function as a mini-story within your narrative. Therefore, a great scene should:
Answer at least one or two questions from the previous scene or chapter.
Pose several new questions to keep the reader hooked.
Ensure that not all questions are answered—mystery and tension drive engagement!
And what’s the most effective way to do this? Surprise surprise! You guessed it! Conflict.
Every scene in your book should have some form of conflict, even if it’s subtle. It’s not just about action-packed duels or heated arguments—conflict is what keeps readers engaged. Even quiet moments should carry tension, stakes, or emotional friction.
A character waiting for test results might not be in immediate danger, but their spiraling thoughts create internal conflict.
A peaceful dinner might seem calm, but if one character is hiding something, there’s underlying tension.
Even a romantic scene can have conflict—one character might be in love, while the other is unsure.
One of the best ways to ensure that every scene pulls its weight is by using scene cards (which I’ll cover in an upcoming blog post!). These allow you to balance internal vs. external conflict, making sure every moment serves a purpose and moves the story forward.
The Power of Resolution (Or Lack Thereof)
Resolution gives your story—or an individual scene—its sense of closure, but that doesn’t always mean wrapping everything up in a neat little bow. A well-crafted resolution delivers emotional payoff, showing how the conflict has changed the character or the world around them. But sometimes, deliberate lack of resolution is just as powerful—unanswered questions, lingering tension, or a sense of ambiguity can leave readers thinking long after they turn the final page. Whether you tie things up or leave threads frayed, resolution should feel intentional and serve the emotional core of the story. Some arcs are about resolving inner demons, while others leave characters forever changed, but not necessarily at peace.
Here’s how different arcs utilize these conflicts and some examples to illustrate them:
1.) Tragic Arcs: When Internal Conflict Wins (and That’s a Bad Thing)
In a tragic arc, a character’s internal struggle overpowers their ability to grow, leading them down a path of self-destruction. Often, they recognize their internal demons but make the wrong choice, failing to change for the better. Their external conflict (battles, relationships, the world) might push them toward growth, but their internal fears, flaws, or obsessions hold them back.
Example:
Anakin’s fear of loss and desperation for control drive him straight into Palpatine’s manipulation. Externally, he faces war, Jedi politics, and Palpatine’s whispers, but his real struggle is internal—his inability to accept loss. Instead of growing, he gives in to his fear, becoming Darth Vader. His story is tragic because we see what could have been—his internal conflict had a chance to be resolved differently, but it wasn’t.
Other Examples:
Macbeth (Macbeth) – His ambition leads him to murder and paranoia, sealing his doom.
Walter White (Breaking Bad) – His pride transforms him from a desperate man into a ruthless kingpin, destroying his family in the process.
Jay Gatsby (The Great Gatsby) – His obsessive love for Daisy blinds him to reality, ultimately leading to his death.
2.) Redemptive Arcs: Overcoming Internal Conflict for Growth
A redemptive arc is a direct contrast to a tragic arc—the character starts in a dark place but fights their internal battles and comes out stronger. Their external conflicts (usually fights, challenges, or relationships) mirror their internal struggle, forcing them to confront their flaws until they grow. These arcs are satisfying because they show hope—that change is possible, even for the most flawed characters.
Example:
Zuko starts as a villain, obsessed with restoring his honor by capturing the Avatar. His external conflict (being banished, fighting the Avatar, dealing with his father’s cruelty) is deeply tied to his internal struggle with identity—is honor something he has to earn through violence, or is it something he can define for himself? Over time, his internal conflict shifts—he stops seeking validation from his father and chooses his own path.
Other Examples:
Edmund Pevensie (The Lion, the Witch, and the Wardrobe) – Starts as selfish and betrays his siblings, but learns humility and redeems himself.
The Grinch (How the Grinch Stole Christmas) – Begins bitter and isolated but learns love and kindness through the Whos of Whoville.
Darth Vader (Return of the Jedi) – Yes, Anakin has a tragic arc, but his final moment is one of redemption—he chooses love over power, saving Luke and defeating the Emperor.
3.) Bittersweet Endings: Victory at a Cost
Not every story ends with total triumph or absolute failure—some sit in the grey area of bittersweet endings, where a character succeeds in one conflict but loses something else in the process. These endings often feel realistic, reflecting the fact that growth and success don’t always come without sacrifice.
Example:
Jon Snow wins the war against the White Walkers, and peace is restored to Westeros—but at tremendous personal cost. Daenerys, whom he loved and believed in, had to be stopped. He kills her, but instead of being hailed a hero, he’s exiled. His external battle is won, but his internal conflict—his sense of duty vs. love—ends in heartbreak.
Other Examples:
Frodo (The Lord of the Rings) – The Ring is destroyed, Middle-earth is saved—but Frodo is permanently scarred and unable to live a normal life.
Katniss Everdeen (The Hunger Games) – The rebellion succeeds, but Katniss is left traumatized and grieving.
Sherlock Holmes (Sherlock Holmes stories) – He defeats Moriarty but fakes his death, losing his old life in the process.
Each of these arcs reflects the push-and-pull between internal and external conflict. Whether a character succumbs, overcomes, or pays a heavy price, these struggles make them real—because, in life, we all wrestle with choices, fears, and consequences.
Would your character win, lose, or sacrifice something to grow? That’s the heart of their arc.
Writing Exercises
Now that we’ve explored in-depth internal vs. external conflict, it’s time to put it into practice.
Exercise #1: The External Conflict Without Action Challenge
Take a major external conflict scene in your WIP. Now, rewrite it without any physical action—focus only on internal conflict and subtext. Can the scene still feel intense without direct fighting or arguing?
Exercise #2: The Mundane Action with High Stakes Exercise
Choose a small, everyday action (pouring tea, tying shoes). Now, write it with tension by layering internal conflict. Maybe the tea reminds the character of their lost mother. Maybe they’re shaking too much to tie their shoes properly before running into danger.
Exercise #3: Hidden Conflict in Dialogue
Write a conversation where two characters are in conflict but never directly state their issue. Let body language, tone, and subtext hint at the real tension.
Exercise #4: Dual Conflict Scene
Write a scene where your protagonist faces both an external and internal conflict. How does their emotional struggle shape their reaction to the external problem?
Exercise #5: Conflict Flip
Take a scene from your WIP that focuses on external conflict. Rewrite it with a focus on internal conflict instead. Then do the reverse—take an internally driven scene and add an external struggle.
Exercise #6: Conflict Layering
Write a short passage where a character is arguing with someone. On the surface, the argument is about one thing (external conflict), but underneath, there’s something deeper driving their emotions (internal conflict).
Concluding Thoughts
At the heart of every compelling story lies conflict—both within and without. Whether your character triumphs, falls, or stumbles into a bittersweet ending, their internal and external struggles shape the emotional core of your narrative. The best stories don’t just throw obstacles in a character’s way—they force them to face themselves in the process. So, as you craft your characters’ journeys, ask yourself: What are they really fighting for?
Write without fear, ignore the inner-perfectionist, and when in doubt, have a shot of whiskey—then write.
—Bair✍︎
P.S.
Good god this blog post is so long.🫠😵💫😂😭
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