Ever read a book where the characters were fascinating, but nothing actually happened ? Or one packed with twists and action, but you didn’t care about a single person in it? That’s the difference between story and plot. Plot is the blueprint—it tells you where the walls go, keeps the structure standing, and prevents everything from collapsing. But story is the feeling of stepping inside—the warmth, the memories, the little details that make it a home. Without story, a plot is just an empty house—technically livable, but cold and forgettable. And without plot, a story is like beautifully arranged furniture sitting in an open field—pretty, but with no foundation to hold it together (as well as completely impractical). One of the biggest reasons writers struggle with structure is misunderstanding the difference between story and plot. Understanding this distinction will help you write with more intention, craft deeper narratives, and avoid the dreaded “flat” or “directionless” book. Not only does it sharpen your ability to structure a novel effectively, but it also enhances your ability to create narratives that resonate deeply with readers on an intellectual and emotional level. Plot is what happens. Story is why it matters. Let’s get into it! Table Of Contents What Is Story? What Is Plot? Story VS Plot: The Key Differences Identifying Story VS Plot Differences Between Story VS Plot & Internal VS External Conflict How To Strengthen Both Story & Plot How To Fix Common Issues How To Find Both In Any Idea Mini Case Study Concluding Thoughts What is Story? Story is the emotional and thematic core of your book—the journey of transformation that gives your novel meaning. It’s the heart of the narrative, the why behind everything that happens. Unlike plot, which consists of events arranged in a sequence, story is about the underlying message and emotional experience that those events create. If you strip away every specific event and simply ask, What is this book really about? , you’re left with the story. Example: The Lord of the Rings isn’t just about destroying a ring. It’s a story about friendship, sacrifice, and the struggle against corruption. Story is what lingers in a reader’s mind long after they finish a book. It is the element that inspires fan theories, personal connections, and deep discussions. It’s the part that makes a book more than just a collection of events; it turns it into an experience. A strong story resonates because it taps into something universal—fear, love, loss, hope. That’s why two completely different books can have wildly different plots but still share the same core story. A story is essentially timeless—it can be retold in countless ways and still hold its power because it speaks to fundamental human experiences. What is Plot? Plot is the sequence of events that make up your novel. It’s the external framework that carries the story forward—the what happens, rather than the why it matters. A plot provides the mechanics of storytelling, the structural foundation upon which the narrative unfolds. Without plot, a story risks being amorphous, lacking direction and momentum. If story is the soul of a novel, then plot is the skeleton . Without a structure of events, your story has no movement. Just as a body needs bones to stand, a story needs plot to move forward. Example: In The Lord of the Rings , the plot includes Frodo leaving the Shire, forming the Fellowship, encountering obstacles (Nazgûl, betrayal, war), and ultimately reaching Mount Doom. A compelling plot keeps readers turning the page, providing momentum and tension that drive the character’s emotional journey forward. It ensures that the reader remains engaged, balancing action, pacing, and stakes. The best plots serve the deeper themes of the story, reinforcing character arcs and the novel’s emotional depth. Without a clear plot, even the most profound themes and characters can feel lost, like a rudderless ship drifting in a vast sea of ideas. Story vs. Plot: The Key Differences While story and plot work together, they serve different roles: Story is internal (character change, theme, emotional depth). Plot is external (events, actions, conflicts). Plot serves story—a gripping plot means nothing if there’s no emotional core. Story can survive without complex plot twists (but a plot without meaningful story falls flat). Example: If you remove all the events in Pride and Prejudice and replace them with different suitors, different settings, different misunderstandings, it’s still a story about love, pride, and personal growth. But if you strip away the emotional depth, the novel becomes just a series of romantic encounters without real weight. Story and plot are interconnected yet distinct. The most effective novels understand how to use plot to illustrate and deepen story, ensuring that every event has significance beyond its surface-level action. How to Identify Story vs. Plot in Your Writing If you’re struggling to separate story from plot, ask yourself these questions: If I remove all the events, does my story still exist? If yes, that’s because story is about emotional and thematic depth, not just external events. Can I summarize my story in one sentence and my plot in another? Story: A woman learns to overcome her pride and find true love. Plot: Elizabeth Bennet meets Mr. Darcy, dislikes him, misjudges his character, faces obstacles, and eventually falls in love. Could I swap out plot details and still have the same emotional journey? If yes, then your story is intact, even if the plot changes. A strong writer understands how to use plot as a vehicle for delivering story—ensuring that every narrative choice enhances the emotional impact of the book. How Story vs. Plot Differs from Internal vs. External Conflict Think of it like this: Story vs. Plot is the macro-level structure of your novel. Internal vs. External Conflict is the micro-level tension within scenes. Example: The Hunger Games Story: A girl learns what it means to survive, sacrifice, and fight oppression. Plot: Katniss volunteers, trains, fights, makes alliances, and outwits the Capitol. Internal Conflict: Her guilt over leaving her family, struggle to trust others, resistance to being a symbol. External Conflict: The literal Games, the Capitol’s oppression, other tributes trying to kill her. Story and plot define the structure and meaning of a narrative, while internal and external conflict shape the tension and character growth within it. Story is the emotional and thematic journey—the heart of the narrative—while plot is the sequence of events that drives that journey forward. Meanwhile, internal conflict (a character’s personal struggles, fears, or moral dilemmas) and external conflict (outside forces like antagonists, disasters, or societal pressures) create the stakes that fuel both story and plot. A strong narrative balances these elements, ensuring that events are engaging (plot), meaningful (story), and full of compelling challenges (internal and external conflict) that force characters to grow. Plot is the map, but story is the journey. Without a map, you may wander aimlessly, but without a journey, the map means nothing. How to Strengthen Both Story & Plot If you’re struggling with balancing story and plot, here’s how to improve both: To strengthen story:  Focus on themes, emotional stakes, and character arcs. Ask,  Why does this story matter? To strengthen plot:  Look at pacing, escalation, and cause-and-effect. Ask,  Does every event drive the story forward? Exercise:  Take a scene from your WIP and revise it twice—once by enhancing the story elements (character emotions, thematic depth) and once by tightening the plot (better pacing, clearer stakes). Compare the impact of both. Troubleshooting: Fixing Common Issues Problem Possible Fix The book is action-packed but feels hollow Strengthen the  story —add emotional stakes, inner conflict, and a clear character arc. The book has deep character work but feels slow Strengthen the  plot —tighten pacing, ensure every scene has purpose, add external obstacles. Readers forget the story quickly Strengthen the  theme —reinforce why this story matters through symbols, recurring motifs, and emotional resonance. The plot feels repetitive Check  cause and effect —make sure each event builds on the last instead of just moving from one scene to another. How to Find the Story & Plot in Any Idea If you have a book idea but aren’t sure what the story vs. plot is, try breaking it down: Example Idea: A girl wakes up with no memory in a dystopian world. Plot:  She pieces together clues, evades those hunting her, and uncovers the truth about her past. Story:  It’s about identity, free will vs. control, and whether she’s defined by her past or her choices. Exercise:  Take a one-sentence book idea and expand it into both story and plot descriptions. Mini-Case Study: How Great Books Balance Both A great way to understand this balance is to look at how successful books handle it. Example: The Hunger Games Story (Emotional/Meaningful Journey) Plot (Events & Structure) Katniss wrestles with survival, morality, and becoming a symbol of rebellion. Katniss volunteers for the Games, trains, forms alliances, fights, and ultimately outsmarts the Capitol. Exercise:  Pick a book you love and break it down into story vs. plot. How do they work together? Concluding Thoughts Story vs. Plot is like a train and its tracks.🚂 The tracks (plot) guide where the train goes. The train (story) is what carries the readers and gives the journey meaning. Internal vs. External Conflict is the tension that keeps the train moving. Internal conflict is the  fuel —what drives the train emotionally. External conflict is the  obstacles on the track —storms, fallen trees, rival trains trying to stop it. A great book ensures the train (story) is on strong tracks (plot) with enough fuel (internal conflict) and obstacles (external conflict) to make the journey exciting. Now that you understand the difference between story and plot, take a look at your own writing. Are you balancing both effectively?  Do you have a strong emotional core alongside a gripping sequence of events? Drop a comment below—what’s your story in one sentence? What’s your plot? Let’s workshop them together! The king died and then the queen died is a story. The king died, and then the queen died of grief is a plot.”  – E.M. Forster Write with structure. Write with purpose. But above all—write a story that matters . —Bair✍︎ Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

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? What Is External Conflict? What Is Internal Conflict? The Push-And-Pull of Internal & External Conflict Common Mistakes To Avoid The Different Types of Internal Conflict The Different Types of External Conflict Using Subtext For Internal & External Conflict Weaving Conflict Within Every Scene The Power Of Resolution (or Lack Thereof) Writing Exercises Concluding Thoughts 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 Here’s a reminder of Freytag’s Pyramid , a classic story structure that applies not just to whole novels but to individual scenes as well! 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.🫠😵‍💫😂😭 Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

Every story has a perspective. The question is: whose eyes should your readers see it through? Choosing a POV is like picking the right camera angle for a movie—do you want a wide shot, a close-up, or an awkward selfie? If you want readers fully immersed, first-person lets them cozy up inside your character’s head. Prefer a little distance? Third-person offers flexibility, giving a broader view of the world. And second-person ? That’s for when you’re feeling bold, pulling the reader directly into the action. But which one is right for your story? Let’s break it down. Table Of Contents What Is POV & Why Does It Matter? The Main Types Of POV First-Person POV Second-Person POV Third-Person Limited POV Third-Person Omniscient POV Third-Person Objective POV Common POV Mistakes Choose The Right POV Writing Exercises Concluding Thoughts What is POV & Why Does It Matter? Point of View (POV) is who is telling the story and how they are telling it. It controls what information the reader has access to, shapes the voice of the story, and dictates how close (or distant) the audience feels from the characters. Choosing the right POV is crucial because it affects everything—the tone, the emotional depth, and even how the plot unfolds. Pick the wrong one, and your story might feel flat, confusing, or just… off. The Main Types of POV | Their Strengths & Weaknesses 1.) First-Person (I/Me) – The Inside Look First-person POV puts readers directly inside the character’s head, using “I” and “me” to tell the story from their perspective. This viewpoint creates an immediate and intimate connection between the protagonist and the reader, making it especially effective for character-driven stories, psychological thrillers, and coming-of-age narratives. However, its limitations—only knowing what the protagonist knows—can be a challenge when crafting complex plots with multiple perspectives. Well Known Works Using First-Person POV The Catcher in the Rye  by J.D. Salinger – Told entirely from Holden Caulfield’s cynical, wandering perspective. The Great Gatsby  by F. Scott Fitzgerald – Nick Carraway narrates, giving us an outsider’s view of Gatsby’s world. The Fault in Our Stars  by John Green – Hazel Grace’s first-person narration brings emotional depth and relatability. Example: I pressed my palm against the wooden door, feeling the cool ridges beneath my fingertips. My heartbeat pounded in my ears, drowning out the muffled voices on the other side. If I went in now, I could still stop this. I could still fix everything. But what if they didn’t listen? What if it was already too late? The air felt thick, cloying, like it was pressing against my ribs, demanding I make a choice. My fingers curled into a fist, hesitation lingering in the space between breaths. First-person POV puts readers directly inside the protagonist’s head. They experience thoughts, emotions, and reactions as the character does, making it one of the most immersive perspectives. ✅ Strengths: Deep emotional connection between reader & character Great for unreliable narrators Strong, distinct voice potential ❌ Weaknesses: Limited to what the character knows/sees Can feel claustrophobic if overdone Hard to balance multiple first-person POVs in one story Best for: Character-driven stories, YA, memoir-style narratives, and psychological thrillers. 2.) Second-Person (You/Your) – The Bold Choice Second-person POV is the least common in fiction, though it occasionally appears in experimental writing, interactive fiction, and “choose-your-own-adventure” books. Using “you” as the main pronoun, this perspective places the reader in the protagonist’s shoes, making the story feel personal and immersive. While powerful in short bursts, it can feel unnatural or gimmicky over the length of a novel, which is why few full-length books use it successfully. Well Known Works Using Second-Person POV Bright Lights, Big City  by Jay McInerney – One of the most famous second-person novels, fully immersing the reader in the protagonist’s experiences. If on a Winter’s Night a Traveler  by Italo Calvino – An experimental novel that places “you” directly into the story. Choose Your Own Adventure  books – Classic examples of interactive second-person storytelling, giving readers direct control over the plot. Example: You hesitate at the top of the stairs, gripping the railing as if it’s the only thing keeping you upright. Below, the party hums with conversation, laughter spilling into the hallway like a current ready to pull you under. You were invited, sure, but that doesn’t mean you belong . Your fingers tighten. Breathe , you think to yourself, forcibly inhaling a breath. You take a step forward, then another. The lights are too bright, the voices too loud, but you keep going. Because if you stop now, you’ll never start again. Second-person POV is rare , but when done well, it pulls the reader directly into the experience, making them feel like the protagonist. ✅ Strengths: Highly immersive Feels personal and urgent Can be experimental and unique ❌ Weaknesses: Difficult to sustain for a full-length novel Can feel gimmicky or unnatural if not executed well Limited mainstream appeal Best for: Short stories, experimental fiction, horror (for a psychological effect), and interactive narratives. 3.) Third-Person Limited (He/She/They) – Close But Controlled Third-person limited is the go-to perspective for many modern novels because it provides a balance between intimacy and flexibility. The narrator sticks to a single character’s thoughts and experiences, allowing readers to connect deeply while still maintaining a broader view of the story. This POV is widely used in genres like fantasy, mystery, and literary fiction, offering insight into characters’ emotions without fully locking the reader into one perspective. It’s the perfect mix of immersion and narrative control. Well Known Works Using Third-Person Limited POV Harry Potter series  by J.K. Rowling – Follows Harry’s perspective while still maintaining a third-person narrative. The Hunger Games  by Suzanne Collins – Stays tightly within Katniss’s thoughts, giving an intimate but controlled experience. The Name of the Wind  by Patrick Rothfuss – Uses a framed narrative but primarily sticks to Kvothe’s perspective in third-person limited. Example: Elias hesitated at the top of the stairs, gripping the railing tighter than necessary. Below, the party was in full swing, a blur of bright dresses and crystal glasses catching the chandelier’s glow. He had been invited—sure—but that didn’t mean he belonged . He inhaled slowly, steadying himself. Just a few minutes. That was all he had to endure. Then he could slip out and pretend none of this had happened. Third-person limited focuses on one character at a time, showing their thoughts and emotions while maintaining a slight narrative distance. It offers flexibility—immersive, yet not as locked-in as first-person. ✅ Strengths: Balances intimacy and narrative control Great for stories with deep character development Allows for more objective storytelling while keeping emotional depth ❌ Weaknesses: Still limited to one character’s knowledge at a time Can be tricky when switching POV characters (if you do multiple) Best for: Fantasy, historical fiction, mystery, and literary fiction. 4.) Third-Person Omniscient (He/She/They) – The All-Knowing God Mode Once a dominant narrative style in classic literature, third-person omniscient has become less common in modern storytelling. In this POV, the narrator knows everything, jumping between different characters’ thoughts and perspectives at will. While it allows for a grand, sweeping scope, it can sometimes create emotional distance, making it harder for readers to fully invest in a single character’s experience. It’s best suited for epics, historical fiction, and stories with large ensemble casts. Well Known Works Using Third-Person Omniscient POV The Lord of the Rings  by J.R.R. Tolkien – The narrator knows the thoughts and experiences of multiple characters across vast landscapes. Pride and Prejudice  by Jane Austen – Frequently moves between Elizabeth Bennet’s thoughts and broader societal observations. Good Omens  by Terry Pratchett & Neil Gaiman – Uses an omniscient narrator with humorous asides, breaking the fourth wall at times. Example: Elias gripped the railing at the top of the stairs, willing himself to descend. Below, the party roared on, oblivious to his hesitation. Across the room, Delia laughed too loudly at a joke she didn’t find funny, her eyes flicking toward the door for an escape. Meanwhile, the host, Mr. Whitmore, watched from the balcony with a smile that never quite reached his eyes. He knew who belonged here and who didn’t, and Elias, hesitating at the top step, was already marked as an outsider. Omniscient POV gives the narrator god-like knowledge of every character’s thoughts, emotions, and actions. It was commonly used in classic literature but is less common in modern storytelling. ✅ Strengths: Allows insight into multiple characters at once Great for epic stories with large casts Can establish a unique narrative voice ❌ Weaknesses: Can feel distant and impersonal If not handled well, can lead to head-hopping (sudden shifts in perspective that confuse readers) Best for: High fantasy, historical fiction, multi-generational sagas. 5.) Third-Person Objective – The Reporter’s Lens Third-person objective is one of the rarer narrative voices in fiction. Unlike first-person or third-person limited, it doesn’t provide access to a character’s inner thoughts or emotions—instead, it presents only observable actions and dialogue. This “fly-on-the-wall” perspective is often found in genres like mystery or journalistic writing, where the focus is on external events rather than internal experience. While it can create a uniquely detached and unbiased tone, it is less commonly used in narrative fiction compared to the more immersive first-person and third-person limited perspectives. Well Known Works Using Third-Person Objective POV Hills Like White Elephants by Ernest Hemingway – A classic short story written entirely in third-person objective, where the characters’ emotions and thoughts are never explicitly revealed, leaving interpretation up to the reader. The Lottery by Shirley Jackson – Uses an objective viewpoint to build suspense and unease, presenting events in a detached manner without diving into characters’ internal thoughts. Ragtime by E.L. Doctorow – While it shifts perspectives, much of the novel employs an objective approach, presenting historical figures and fictional characters through an impartial, observational lens. Example: Elias stood at the top of the stairs, one hand clenched around the railing. Below, guests drifted between tables, their glasses flashing under the chandelier’s glow. A woman in a red dress laughed sharply, shaking her head as she turned away from the man beside her. The host leaned against the far wall, watching the crowd with a practiced smile. Elias exhaled and descended the stairs, his movements stiff, measured. No one noticed. Third-person objective sticks to only what can be observed externally—no thoughts, no inner emotions. It’s like watching a movie. The reader interprets the characters based on action and dialogue alone. ✅ Strengths: Creates mystery & intrigue Forces readers to analyze character behavior Great for minimalist, literary, and noir-style writing ❌ Weaknesses: Can feel emotionally distant Harder to establish deep character connections Best for: Mystery, crime fiction, and literary works. POV Mistakes to Avoid One of the biggest mistakes writers make with POV is inconsistency—accidentally slipping into another character’s thoughts when writing in third-person limited or breaking the established perspective mid-scene. Another common pitfall is choosing a POV that doesn’t serve the story well, such as using first-person for a plot that requires multiple perspectives or third-person omniscient when deep emotional connection is needed. Over-explaining thoughts and emotions in first-person or making a distant, detached narrator in third-person limited can also weaken a story’s impact. Whatever POV you choose, commit to it and use it intentionally. Common Mistake Definitions Head-Hopping – Jumping between multiple characters’ thoughts without a clear break. Stick to one character per scene. Inconsistent POV – Accidentally slipping from one POV to another (e.g., first-person to third) without a clear reason weakens storytelling. Forgetting Narrative Voice – POV isn’t just about pronouns—it affects how the story is told. A first-person narrator should sound distinct, while an omniscient narrator should feel purposeful. How to Choose the Right POV for Your Story The best POV for your story depends on the level of intimacy, control, and flexibility you want. If you want readers to feel completely immersed in one character’s emotions, first-person is a great choice. If you need some distance while still keeping things personal, third-person limited offers a balance between deep character connection and narrative flexibility. Writing a vast, epic tale with multiple characters? Third-person omniscient might be the way to go. And if you want to experiment and push boundaries, second-person is a bold, unconventional option. Consider what will best serve your story’s tone, structure, and emotional depth—your choice of POV shapes how readers experience the world you create. Questions You Should Ask Yourself: How close do you want the reader to be to the character’s emotions? Deeply personal? → First-person Flexible but immersive? → Third-person limited More distant and expansive? → Third-person omniscient How much do you want the reader to know? Do they learn things as the protagonist does? → Limited POV Do they get insights into multiple characters at once? → Omniscient POV What kind of tone and experience do you want? Intimate and personal? → First-person Cinematic and observant? → Third-person objective Experimental and unique? → Second-person Writing Exercises: Experimenting with POV Now that you have a better understanding of all the types of POV there are, their strengths and weaknesses, which are best for the different types of stories and genres, let's put this knowledge to work with some writing exercises. Exercise #1: Rewriting the Same Scene in Different POVs Take a short scene and rewrite it in first-person, third-limited, and third-omniscient. Notice how the focus and emotional impact change. Exercise #2: Character Voice in First-Person Write a paragraph in first-person with a strong narrative voice. Make your character’s personality shine through the narration. Exercise #3: Omniscient Without Head-Hopping Write a short scene in third-person omniscient, but avoid head-hopping. Make smooth transitions between characters’ thoughts. Concluding Thoughts POV is one of the most powerful tools in a writer’s arsenal—it shapes how readers experience your story, how deeply they connect with your characters, and even how the plot unfolds. Whether you choose the intimacy of first-person, the flexibility of third-person, or the boldness of second-person, the key is to wield your chosen perspective with intention. A well-chosen POV enhances immersion, emotion, and clarity, while a mismatched one can create distance or confusion. So, whose eyes will your readers see through? Choose wisely, and let your story unfold from the perfect vantage point. “Point of view is everything in a story. Who tells it, how it’s told, and what is revealed all change the narrative completely.” — Neil Gaiman For me personally, I love writing in third-person limited and third-person objective, but I tend to struggle quite a lot with first-person POV. So tell me! Which POV do you find easiest to write in? Which one challenges you the most? Let me know your answers in the comments below! Write boldly, edit bravely, and go take on your manuscript! —Bair✍︎ Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

Ever read a book where the author described every single blade of grass for five pages? Yeah, sometimes you just need to get to the point (looking at you Tolkien...). And Robert Jordan, I love you, but I don’t need to know the exact embroidery on every noble’s sleeve. Not every moment in your story deserves a deep dive. If your character is walking through a door, you don’t need to describe the grain of the wood unless it matters . Just let them walk through the damn door. Pacing matters, and sometimes, “They traveled for three days in silence” is all you need. No one wants to read about every rock on the road. Writers are constantly told to “show, don’t tell,” but guess what? Sometimes, telling is the smarter move. Let’s talk about when to tell, how to tell effectively, and why knowing the difference is the key to strong storytelling. Table Of Contents What Is Telling? Telling: An Essential Writing Tool Why You Should Tell How To Tell Effectively Writing Exercises Concluding Thoughts What Is Telling? (& How It Differs from Showing) Much like how I will keep this blog post, telling is straightforward, efficient, and to the point. Instead of immersing readers in sensory details, telling delivers information quickly so the story can move forward. Example of Telling: She was exhausted but kept running. Example of Showing: Her legs burned with every step, breath hitching in her throat. The world blurred at the edges, but she pushed forward. Telling gives fact s. Showing gives experience . But that doesn’t mean telling is bad—it just serves a different purpose. Why Telling Is an Essential Storytelling Tool Telling gets a bad rap, but it’s a necessary part of storytelling. If you showed every single moment in full sensory detail, your book would be a thousand pages long, and readers would get bored. Here’s why telling is useful: It speeds up pacing – No one wants to read five pages about someone packing a suitcase. It summarizes unimportant details – Not every meal needs to be described like a feast from Game of Thrones. It keeps focus on what matters – Sometimes, the outcome is more important than the process. Good storytelling balances showing and telling. Knowing when to tell is just as important as knowing how to show. When & Why You Should Use Telling? Here are the best times to use telling in your writing: 1. Summarizing Events & Skipping the Boring Stuff Not every event needs to be fully fleshed out. If a scene doesn’t add tension, character development, or key plot points, summarize it and move on. The journey took three days, cold and miserable, but uneventful. This avoids unnecessary filler. If something exciting had happened, you’d want to show it instead. 2. Transitions & Time Jumps When your story moves forward in time, telling helps bridge the gap. Months passed, and winter set in. Do we really need to experience every day of those months? No. Just tell us time has passed and get to the good part. 3. When the Action Matters More Than the Details Sometimes, what happens is more important than the experience of it happening. He signed the contract and sealed his fate. Instead of showing the entire scene, this single sentence conveys weight and finality. 4. When Creating Narrative Distance (Objective Storytelling) If you want an objective, distant narrator (common in literary fiction or historical storytelling), telling can work to create that detached feel. The kingdom fell into ruin after the war. This feels more distant and factual than a deeply immersive scene. 5. Internal Thoughts & Quick Emotional States Telling is useful for brief internal thoughts or emotions—especially when you don’t want to drag the moment out. She hated him. Regret filled his chest, but he turned away. Short, punchy telling delivers impact without slowing the pace. How to Tell Effectively Without Making It Dull Telling only becomes a problem when it feels lazy, distant, or flat. Here’s how to use telling well: Make It Punchy – Keep it brief and impactful. “The war lasted a decade, and millions died.” That’s powerful. Blend Show & Tell – Sprinkle in sensory details to keep it engaging. Use Strong, Active Language – Instead of “She felt scared,” try “Fear gripped her chest.” Know When to Step Back – Sometimes, less is more. If the moment doesn’t need depth, just tell it and move on. Writing Exercises: Mastering Intentional Telling Knowing when to tell instead of show is a skill that strengthens your storytelling, keeping your pacing tight and your readers engaged. Now, let’s put this into practice. The following exercises will help you sharpen your instincts on when to summarize, when to immerse, and how to balance both for maximum impact. Exercise #1: Condense the Scene Take a drawn-out passage from your WIP and rewrite it in 1-2 sentences. Focus on keeping clarity, impact, and pacing. Before (Too Much Showing): The sun sank below the horizon, casting an amber glow over the endless waves. He walked along the shoreline, each step leaving a fading imprint in the damp sand, the salty breeze biting at his skin. After (Effective Telling): He walked the beach at sunset, lost in thought. Reflection: Did you keep the essential feeling of the moment while making it more concise? Exercise #2: Identify Weak Telling vs. Strong Telling Rewrite these flat telling sentences into strong, engaging ones: The city was in ruins. She was heartbroken. They argued all night. Challenge: Can you make these short but vivid without over-explaining? Exercise #3: Find the Balance Write a short paragraph using both showing and telling. See if you can: Start with a brief telling sentence. Expand with one sensory detail to add depth. End with another short telling statement for impact. She had never been so afraid. The walls of the tunnel pressed in, damp and suffocating. A single breath—then she ran. Concluding Thoughts Telling isn’t the enemy of good writing—bad telling is. When used intentionally, telling tightens pacing, clarifies information, and keeps your story moving. The trick is knowing when to immerse readers and when to just get to the point. Good storytelling isn’t about never telling—it’s about striking the right balance. “Good writing is not just about what to include, but what to leave out.” — Mark Twain    What’s a scene in your story where telling actually worked better than showing? Let’s talk in the comments! Happy writing! —Bair✍︎ P.S. If you've gotten this far, check out my other two posts on how to effectively "show" in your writing and get a deeper understanding of why showing AND telling are important: Bringing Your Story to Life: The Art of Writing Vivid, Immersive Prose (How To Show Not Tell Using The 5 Senses) Show & Tell: Why BOTH Are Important For Effective Storytelling Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

Are You Writing? Or Weaving Verbal Tapestries? Some writers tell a story. Others paint it in lush, sprawling brushstrokes that make even a sunset blush... in secondhand embarrassment. If you’ve ever described a “verdant cascade of emerald-hued foliage swaying like the whisper of forgotten gods,” when you really just meant “the leaves rustled in the wind” —congratulations! You might be a Purple Writer. Purple writing is like adding too much seasoning to a dish. A sprinkle of poetic prose? Delicious.  But drown your story in it, and suddenly no one can taste the actual plot. So, how do you know if your writing is drenched in literary lavender? Here are four telltale signs. Table Of Contents You're Married To Thesaurus.Com Your Sentences Are As Long As Marathons Your Character's Sound Like Martians You Describe EVERYTHING... Even When It's Not Important When It Becomes Too Much Concluding Thoughts 4 Signs You’re a Purple Writer (& How to Dial It Back Before Your Prose Becomes a Floral Monstrosity) 1.) You Have a Deep, Unrelenting Love for Thesaurus.com A good writer knows the power of a well-placed word. A purple writer treats the thesaurus like a divine text, consulting it religiously to avoid using anything as pedestrian as “sad.” Why say sad when you could say “drenched in melancholic despair, adrift in a sea of sorrow, bereft of all joy, consumed by the abyss of existential ruin” ? If your writing sessions involve spending thirty minutes hunting for the perfect synonym for “blue,” (I'm definitely not guilty of this... not me, def not me. .*sips tea loudly*) you may be engaging in unnecessary verbal gymnastics . Simplicity isn’t a crime. Your readers will still get the picture if the sky is just… blue. 2.) Your Sentences Are Long Enough to Qualify as a Marathon A single, beautiful, poetic sentence can be breathtaking. But if one of your paragraphs contains exactly one period, and it stretches across half a page, filled with ellipses, commas, em dashes, and enough subclauses to make Charles Dickens shake in his boots, then you might be a purple writer. Sure, the rhythm and flow of a long, descriptive passage can be mesmerizing, but if your readers need a Sherpa and a breathing exercise to get through one sentence, you might want to rein it in. Let your words breathe. Shorter sentences can hit just as hard. 3.) Your Characters Don’t Speak Like Human Beings Imagine a simple exchange: → Regular dialogue: “I’m cold,” she said, shivering. “Here,” he replied, tossing her his jacket. → Purple writer dialogue: “Alas, a frigid specter clutches at my bones, whispering cruel nothings of winter’s unrelenting grasp,” she lamented, her breath unfurling in ephemeral wisps of frost. “Then take this, fairest maiden, lest the abyss of chill claims thee as its own,” he murmured, draping his cloak upon her quivering shoulders like a knight of yore bestowing divine protection. … If your characters sound like Shakespearean ghosts at all times, you may have a problem. Readers want characters who feel real —not like they’re auditioning for a Renaissance faire. Dialogue should sound natural, even in fantasy. If you wouldn’t say it in a casual conversation without getting weird looks, your character probably shouldn’t either—unless they’re the kind of person who would talk like a walking thesaurus (in which case, congratulations, you’ve created a truly unique character). Otherwise, let them breathe! Give them personality, rhythm, and an authentic voice, not just layers of overwrought poetry. 4.) You Describe Everything… Even When It’s Not Important Does your writing take three paragraphs to describe the color, texture, and tragic backstory of a side character’s cloak, even though they only appear in one scene? Do your action sequences pause for a full page of internal monologue about the emotional significance of a battle stance? Purple writers sometimes forget that not everything needs to be artfully adorned in adjectives and metaphors. Not every door needs to be “an ancient portal of splintered mahogany whispering tales of forgotten hands.”Sometimes, it’s just… a door. When Purple Writing Becomes Too Much There’s nothing wrong with beautiful prose—in fact, poetic descriptions can elevate a story! But when your writing gets in the way of clarity, pacing, or emotional impact, it’s time to dial it back. Readers want to be immersed in a story, not drowning in it. If they have to reread a sentence three times to figure out what’s actually happening, your story might be suffocating under all those adjectives. How to Fix It (Without Losing Your Style!) Ask yourself: Does this sentence serve the story? If it doesn’t push the plot, develop the character, or enhance the mood, cut it. Read it out loud. If you’re out of breath before the sentence ends, it’s probably too long. Swap two poetic lines for one sharp, impactful one. Sometimes, less is more. Use purple prose intentionally. A little flourish in emotional moments? Beautiful. All the time? Exhausting. Concluding Thoughts The best writing strikes a balance—a touch of beauty, a dash of simplicity, and a whole lot of clarity. As Antoine de Saint-Exupéry said: “Perfection is attained not when there is nothing more to add, but when there is nothing more to take away.” Great writing isn’t about stuffing as many adjectives and metaphors as possible into a sentence—it’s about making every word count. So, whether you’re a recovering purple writer or proudly reveling in your literary flourishes, just remember: your story matters more than the way it’s dressed. So, tell me—do you recognize any of these signs in your own writing? Or are you proudly embracing your flamboyant, adjective-loving soul? Let me know your answers in the comments below! May every blank page bring excitement and never fear! —Bair✍︎ Disclaimer: Please note that this blog post contains affiliate links, which means I may receive a referral commission at no extra cost to you . This support helps keep my website up & running, and me writing! Thanks so much for your support! Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

Are you struggling to get that book of yours done? Do you have no one to talk to when it comes to your latest story and all of its glorious twists and turns? Worst of all, do you have no one to relate to when it comes to writing—aside from that occasional meme on Instagram? Worry not! I have a remedy for you that should help solve your problems and help you be a more productive writer so you can finally finish that book of yours. Here are the 5 Benefits of a Writing Buddy. 1. They know #ThePain. What's better than having someone who knows the personal struggles of a writer than another writer?  Nothing . Literally nothing.  There truly is nothing better in this world than having a writing oriented friend. They can relate to you in all your writing struggles because, most likely, they've been there before. What's better is that they are more than likely to listen to you blab about whatever writing project you're currently working on. And vice versa! Which leads me to my second point... 2. You can bounce ideas off of them! If you're stuck on a particular scene or chapter, you can run ideas by them and get their input! They can let you know what they think would work best for your story or how you could make your characters more interesting. They can let you know what they think of your next big plot twist or if your beloved protagonist's breaking point is believable or not. Best of all, they can help you find that word that's right on the tip of your tongue! Which goes into my third point... 3. They can help look over your work.  At some point, you have to let other people see and read your writing, or else, what's the point of writing a book? This is a truth you  have  to accept at some point or another, so who better than your writing buddy to look over your work?  No matter what stage of writing you're at, you should be comfortable enough with them to able to trust them and have them look over your work. So whether it be basic spelling, grammar, or punctuation, writing buddies can help you identify your strengths and weaknesses; and let you know where you're excelling and where you need improvement. With that— 4. They can help you improve your writing! Your writing buddy will most likely have a different, if not opposing, writing style to your own, so take that as an opportunity to experiment with your writing style.  Maybe they excel at showing, and you're great at telling without overdoing it, sharing your work back and forth will help balance each other out and improve your own writing! Which leads me to my fifth and final point... 5. Work together!  No, I don't mean collaborating on writing a novel together (but do that if you want), I mean to literally work together side-by-side and or virtually. Pick a time and date to meet up, or face chat with them, and  write . It's  that  simple. Doing so will help to create a support system in which you keep each other accountable in doing your work. Yes, writing is an activity that is primarily done  alone , but doing a writing sprint together where you're keeping each other accountable is not only crucial, but  key . Best of all, you'll both benefit from the endeavor, since you're helping to raise each other up. This is by far my favorite tip, as this has been the most helpful to me. It took me  three years  to write a little over 50,000 words, but once I truly dedicated my time to writing with a writing buddy, I went from 50,000 words to 85,000 words in just  one  month.  So don't sell yourself short by writing alone! But what's this I hear you say? "But Bair,  how  do I  find  a writing buddy?" Good question! Consider the following: Check out Discord or Facebook groups that are writing oriented. Take a writing class, and connect with fellow students. Find a writing group near you and dedicate your time to getting to know other members. Now, if already established, large communities seem a bit too daunting for you, I'd suggest checking online writing forums and asking around. Even ask around Twitter and Instagram, you may be surprised by the number of people who would jump at the opportunity. I know it may be a little intimidating, but it's WORTH IT. Looking back, I was foolish not to have gone out and found one sooner. But that's why I'm telling you right now!  Seriously , do yourself a favor and get yourself a writing buddy, they are  invaluable —you'll thank me later. I wouldn't be where I am if it weren't for my current writing buddies as they've been a great source of inspiration since they are incredibly talented, published authors. So shout out to Kimberly D. Herbstritt who has pushed and inspired me to get to where I am today. My questions to you are: Do you have a writing buddy? If so, how have they helped you? If not, are you interested in having one? Let me know your thoughts in the comments below and let me know if any of this helped! I would love to hear from you! See you in the next blog,  A hui hou~ —Bair✍︎ Want to get to know a more personal side of me, get writing FREEBIES, behind the scenes insights on my projects, and more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Want more writing content? Find me on Medium . Struggling to get your word count in? Check out my writing podcast ! Looking for an audiobook narrator? Learn more here . Support me on Ko-fi ! INSTAGRAM | TWITTER | PINTEREST Like this post? Share the link on your social media or pin the image below to your Pinterest board !

Are you struggling to write and get your word count in? When you go to sit down and write, is it difficult to get words out on the page? Or do you ever wake up regretting not writing down that idea you had that solved your novel's plot hole? Best of question of all, do you have notebooks collecting dust? Not to worry, as a fellow writer, I completely understand. You may be wondering, "How can I boost my productivity  and  my word count?" Well, you're in luck! In this blog I'm going to share with you my personal experiences with dedicating myself to using my notebooks and why I firmly believe having one is super beneficial to your writing. As well as why I believe, when used well, a writer's notebook is one of the greatest, if not the greatest, tool in a writer's arsenal. I know that sounds a bit far fetched, but hear me out! Remember all the times you've had ideas, and you said you'd write it down later, be honest, did you ever  really  do it? Once you get in the habit of using your notebook, I can pretty much guarantee you'll be addicted to using it. Here are the 5 Benefits of a Writer's Notebook. 1. Your word count will go up. During those mundane times when I get a sudden "eureka" moment, I immediately reach for my notebook and scribble down my thought, so for the following evening, when I go to write, my initial idea ends up snowballing which helps to increase my word count  drastically . So instead of writing 500 words, I write well over 2,000!  *Pro-tip:  When writing down a note, be sure to give yourself context and or necessary details so when you go back and look at it, you know what the heck you were writing about. That said— 2. You'll actually get your writing done. I'm not saying to write your entire novel in your notebook (I mean you can if you want to, you do you), but like in my previous point, keeping your notebook handy for when you get an idea can be incredibly helpful. Because when you go to plug in the ideas you've scribbled down, your word count will go up as you build on them. *Pro-tip:  To get the most use out of your notebooks, specifically for the ones you'd use for your books, first write your ideas in pencil, then once graphite is spilling from the pages, cross out all those ideas (don't bother to erase them) and then start again but in pen, writing over your old notes (see right photo for reference). 3. You can use it as a #BookBible. For those of you who don't know what a  Book Bible  is, a Book Bible, which is usually better known as a  series bible , or 'show bible,' is, in essence, an outline and or synopsis for a TV series. Using your notebook as a Book Bible can help you keep track of all the minuscule details in your novel and keep you from forgetting crucial information in your story. Using your #WritersNotebook to write down everything that happens in your stories regarding plot and basic outlines, names for future characters, characters, and character arcs, as well as world terminology, can be extremely useful when your needing to stay consistent. For more information on 'Book Bibles' and what goes into one, sign up for my newsletter and get access to my FREE Book Bible eBook (which is filled with basic worldbuilding and character development sheets). 4. It's where you can plan writerly goals and write down notes on writing and the industry. I shouldn't have to explain writerly goals part, but having your notebook around for the times you come across really amazing writing tips (like while you're scrolling through Instagram when you really should be writing...), quickly jot the writing tip down in your notebook, so you don't lose it. Or, if you come across an article on how to flawlessly execute a query letter, write the essential tips in your (surprise surprise) notebook! 5. It's where your New York Times best-selling book idea will be born! Like your phone, it should follow you wherever you go. Keep it near your person at all times, and if you can't do that, leave it by your bed, so when you have a spark of genius, you can write it down before you settle down for the night. (Fair warning, this may result in thoughts spinning on and on endlessly. Proceed at your own risk.) And on the off chance your phone dies right when you have an idea, you have your notebook handy to write down your thought! (Just don't forget a pen or pencil!) I believe what stops most people from using their notebooks is due to some subconscious thought of not wanting to potentially ruin it. So save your fancy, aesthetically pleasing notebooks for Instagram and your bookshelves and get yourself a plain notebook of inconsequence (brown or black will suffice) and begin there. Once you start writing in your notebook, COMMIT. (I know that's a scary word, but don't run away just yet!) Something else to consider is to find a size that works well with you and stick with it. Because, along with having your notebooks not be aesthetically pleasing, having your notebook be too big or too small can subconsciously deter you from using it. For example, I absolutely love and adore my plain brown, 3.5x5.5 notebook. It's small enough to take wherever I go (not that I'm going anywhere because you know,  writer . Well... does my kitchen count?) so it doesn't intimidate me since it's a good pocket-sized notebook. But it isn't so small that I quickly fill it up. I personally use (and  highly  recommend) the   RETTACY Pocket Notebook   as it has two separate string bookmarks, the pages are numbered, and (my favorite part of all) there is a table of contents at the beginning to keep track of all my thoughts and ideas!  I have two of these little beauties, one in which I write notes regarding the writing industry and writing tips, and the other I mainly use for jotting down my ideas for  my current WIP  and additional random notes for stories yet to come.  Be warned, if you're going to use more than one notebook at a time, keep track of them. So if you're going to use one notebook for your book, strictly use it for your book. If you're going to use it for bullet journaling, only use it for bullet journaling. And if you're going to use it for writing tips, ONLY USE IT FOR WRITING TIPS. This way, you don't get confused and lose ideas and valuable information.  Last but not least, my final piece of advice to you is this: Treasure your notebook like your computer or phone. It will be the birthplace of your best-selling idea, so don't lose it. I hope I have convinced you to start using your notebooks.  My question to you is:  How do you use your notebooks? Do you use them at all?  Let me know in the comments below and or let me know whether or not this helped! I would love to hear from you! Happy writing everyone,  A hui hou~ —Bair✍︎ Disclaimer:  Please note that this blog post contains affiliate links, which means I may receive a referral commission at no extra cost to you . This support helps keep my website up & running, and me writing! Thanks so much for your support! Want to get to know a more personal side of me, get writing FREEBIES, behind the scenes insights on my projects, and more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Looking for an audiobook narrator? Learn more here . Buy me a coffee ! INSTAGRAM | TWITTER | PINTEREST Like this post? Share the link on your social media or pin the image below to your Pinterest board !

Why do some characters feel real and compelling, while others fall flat? Often, it comes down to motivation—what a character wants, why they want it, and how far they’re willing to go to get it. Maslow’s Hierarchy of Needs is a psychological framework that can help writers understand what truly drives their characters at a deep, human level. Helps you to get deeper into the psychology of your character to better understand your characters, your character's motivations, their psychology, and help you understand where they are in their journey and what path they are on. In this post, we’ll break down how each level of Maslow’s hierarchy shapes a character’s desires, fears, and decisions, and how you can use it to craft richer, more believable character arcs. Table Of Contents What Is Maslow's Hierarchy of Needs? Physiological Needs Safety Needs Love & Belonging Esteem Needs Self-Actualization How To Apply The Hierarchy To Characters Where Do Your Characters Start? Want V.S. Need Conflict On The Pyramid Writing Exercises Concluding Thoughts Understanding Maslow’s Hierarchy of Needs For Characters What Is Maslow's Hierarchy of Needs? If you've never heard of Maslow's Hierarchy of Needs, it is a psychological theory developed by Abraham Maslow in 1943, outlining the stages of human motivation. It is often depicted as a pyramid with five levels, each representing a different category of needs that drive human behavior. At the base are physiological needs like food, water, and sleep—essential for survival. Once those are met, people seek safety needs, such as financial security and physical protection. Higher up, individuals crave love and belonging, forming deep relationships and communities. Beyond that, they strive for esteem needs, seeking recognition, self-worth, and achievement. At the top is self-actualization, where a person pursues purpose, creativity, and personal fulfillment. Maslow theorized that as lower-level needs are satisfied, people become motivated by higher aspirations. In storytelling, this framework helps define character motivations, conflicts, and arcs, as characters evolve based on what they desire most. Illustration of Maslow's Hierarchy of Needs, depicting the pyramid from basic physiological necessities to self-fulfillment, with artistic elements like a typewriter and open book enhancing the visual presentation. Here’s a breakdown of the five levels and how they can shape a character’s journey. 1.) Physiological Needs – Survival at All Costs (The Base of the Pyramid) At the most basic level, every human (and character) is driven by the need to stay alive. These are essential needs like food, water, air, shelter, sleep, and physical health—without them, nothing else matters. When a character is stuck at this level, their entire focus is on survival, meaning they won’t have the luxury of worrying about self-worth, relationships, or personal growth. Their choices will be instinctive, desperate, and often reckless because the stakes are life or death. This level is common in survival stories, post-apocalyptic settings, war narratives, and dystopian fiction. A protagonist who has been thrust into the wilderness, trapped in a deadly competition, or fleeing a dangerous enemy will be primarily focused on securing these physiological needs before anything else. Example: Katniss Everdeen (The Hunger Games) isn’t initially concerned with rebellion or love—she just wants to survive and protect her family. Mark Watney (The Martian) spends most of the book solving one problem at a time: How do I get food? How do I make water? How do I not die on Mars? How This Shapes a Character: Their decisions are purely instinctual—survive or die. They have no time for deep emotions or complex relationships if their immediate survival is threatened. They may develop resourcefulness, resilience, and quick-thinking skills to navigate life-threatening situations. 2. ) Safety Needs – Stability & Security Once survival is secured, characters shift toward seeking safety and stability in their lives. This includes physical safety (protection from danger or harm), financial security, law and order, and overall stability. Characters at this stage are driven by the desire to avoid risk, establish control, and protect what they have. This need often creates internal conflict in characters who must choose between playing it safe or taking a risk. A character clinging to safety may refuse adventure, turn down opportunities, or even betray others to maintain their sense of security. Example: Bilbo Baggins (The Hobbit) starts his journey in a safe, comfortable home and is deeply resistant to adventure at first. Walter White (Breaking Bad) is initially motivated by his need to financially secure his family’s future after his cancer diagnosis, leading him down a dangerous path. How This Shapes a Character: If they are too attached to safety, they may struggle with stepping outside their comfort zone. They may hoard wealth, manipulate situations, or even lie to protect their stability. If safety is suddenly taken away, they may become desperate, paranoid, or reckless in an attempt to restore it. 3.) Love & Belongi ng – The Search for Connection After securing stability, characters begin to crave emotional connections—whether through friendships, romantic relationships, family, or a sense of belonging. This is where many deep internal conflicts arise, especially in stories where characters struggle with abandonment, rejection, or trust issues. A character at this stage may feel lonely, disconnected, or desperate for approval. They might go to extreme lengthsto maintain a relationship, or they may push others away out of fear of getting hurt. This level is particularly relevant in coming-of-age stories, romance, found-family narratives, and redemption arcs. Example: Elsa (Frozen) isolates herself because of her fear of rejection, but deep down, she longs for connection. Harry Potter doesn’t just want to survive the Dursleys—he craves friendship, love, and a true home. Dom Toretto (The Fast & Furious series) is motivated not by money or power but by his loyalty to his found family. How This Shapes a Character: If they lack love, they may become cold, detached, or afraid of vulnerability. They may chase relationships or approval to an unhealthy degree, leading to codependency. Their biggest fear might be abandonment, betrayal, or rejection. 4.) Esteem Needs – Respect & Recognition Once a character feels loved and accepted, they start to seek self-worth, respect, achievement, and recognition. This can take many forms—career success, proving themselves to others, gaining power, or earning admiration. Some characters want status and prestige, while others simply want to feel valued for who they are. This is where ego, pride, and ambition come into play. A character’s self-esteem might be tied to external validation—making them susceptible to arrogance, insecurity, or self-destruction if their status is threatened. This is common in rivalry stories, tales of ambition, and tragic character arcs. Example: Tony Stark (Iron Man) starts as a man who thrives on validation, status, and being the smartest person in the room. Jay Gatsby (The Great Gatsby) is obsessed with wealth and prestige, believing it will win him Daisy’s love. How This Shapes a Character: They may struggle with imposter syndrome, fear of failure, or arrogance. If they lose status, they might experience a crisis of identity. They might start out believing external success = happiness, only to realize true self-worth comes from within. 5.) Self-Actualization – Becoming Who They’re Meant to Be At the top of the hierarchy is self-actualization, where a character is no longer motivated by external factors (survival, security, relationships, or status) but by their own internal purpose and fulfillment. They seek to become their best selves, live authentically, and leave a lasting impact. This is often the end goal of a protagonist’s journey. They start off chasing something external (money, love, revenge, power) but eventually realize what truly matters. In contrast, tragic characters never reach this stage, remaining stuck in their lower-level needs. Example: Moana starts by wanting to follow her family’s traditions, but she realizes she must embrace her destiny and explore the ocean. Aang (Avatar: The Last Airbender) has to accept his role as the Avatar, despite wanting to run from responsibility. How This Shapes a Character: They stop being driven by fear, approval, or ambition and act out of purpose and wisdom. They often reach clarity about their true self, completing their arc. Their transformation may inspire or impact others, showing their growth. How to Apply Maslow’s Hierarchy to Characters Characters, much like real people, don’t wake up one day thinking, “I need self-actualization.” They start at the bottom—hungry, afraid, or longing for connection—and climb the hierarchy as their story unfolds. A character’s arc is often about moving up the pyramid, whether they realize it or not. That lone mercenary scavenging for scraps (physiological) might one day become a reluctant hero fighting for a cause (self-actualization). A street thief (safety) may only seek survival at first, but along the way, they might stumble into an unexpected found family (love & belonging). And sometimes? A character never reaches the top. Tragic heroes, villains, and even anti-heroes often get stuck in lower levels, unable to move forward because of fear, ambition, or self-doubt. By aligning your character’s desires, struggles, and ultimate growth with Maslow’s hierarchy, you can craft a journey that feels authentic, emotional, and deeply human. So now that we understand the five levels of Maslow’s Hierarchy, let’s explore how they shape a character’s journey. Characters rarely recognize their needs explicitly, but their struggles, motivations, and ultimate growth often align with this pyramid. A survival-driven character (Level 1) might start out only concerned with their next meal, but by the end of the story, they may rise to fight for a cause greater than themselves (Level 5). A power-hungry villain (Level 4) may spend an entire story chasing status and validation, only to realize too late that what they truly needed was love and belonging (Level 3). Some characters climb the pyramid, while others tragically fall—either way, their needs dictate their actions, shape their internal conflicts, and drive their arcs. Where Does Your Character Start? Before crafting a character arc, ask yourself: "where do my characters start on the hierarchy?" Are they struggling for basic survival, seeking safety, longing for love, or chasing prestige and recognition? Are they focused on survival (Level 1), stability (Level 2), or something higher? What need is currently driving their actions? What Do They Think They Want vs. What They Actually Need? Many characters believe they know what will solve their problems, but what they want isn’t always what they need. This tension is key to creating compelling character arcs. External Goal: What the character believes will fix their life. Internal Need: The deeper, often unrecognized truth that will actually fulfill them. Example: Elsa (Frozen) thinks she needs isolation to feel safe (safety needs), but what she actually needs is love and acceptance (belonging needs). Walter White (Breaking Bad) thinks he needs money to secure his family’s future (safety needs), but his true craving is power and control (esteem needs). Reflection Question: How does the story force your character to realize what they truly need? How Does Conflict Push Them to Climb the Pyramid? Great character arcs don’t just happen—conflict forces characters to evolve. Whether it’s internal struggles, external challenges, or life-changing events, something must disrupt their status quo and challenge their priorities. As characters grow, their needs shift up the pyramid. In a tragedy, a character may fail to grow and instead fall lower. Example: Katniss Everdeen (The Hunger Games) starts at physiological needs (finding food for her family). As the story progresses, she moves through safety, belonging, esteem, and ultimately, rebellion and self-actualization. Jay Gatsby (The Great Gatsby) remains trapped in esteem needs (status and wealth), never reaching self-actualization, which leads to his downfall. Reflection Question: Does your character naturally move up the pyramid, or do they cycle between levels? Writing Exercises for Maslow’s Hierarchy of Needs Exercise 1: Climbing the Pyramid – Character Growth Through the Hierarchy Pick a character and map out their progress through Maslow’s hierarchy. Where does your character start (survival, safety, love, esteem, or self-actualization)? What external event or conflict forces them to move up? Do they get stuck at a level? Why? What final moment or realization helps them grow—or keeps them from evolving? Example: Katniss starts at survival → moves through safety and belonging → struggles with esteem → reaches self-actualization as a revolutionary leader. Reflection Question: Does your character climb the pyramid naturally, or are they resistant to change? Exercise 2: What Do They Think They Want vs. What They Actually Need? Many characters pursue the wrong thing, believing it will bring happiness. This exercise helps define their false belief vs. true need. Write down your character’s external goal (what they think they need). Identify their internal need (what will actually fulfill them). Determine which Maslow level aligns with this need. How does the story force them to realize this truth? Example: Jay Gatsby thinks he needs Daisy’s love (esteem needs), but he actually needs self-worth and acceptance of the past (self-actualization). Elsa believes she needs isolation (safety), but her true need is love and connection (belonging). Reflection Question: How does your character’s journey shift their understanding of their true need? Exercise 3: The Pyramid Reversal – When Characters Fall Instead of Rise Not all stories are about growth—some are about destruction. Write about a character who descends Maslow’s hierarchy instead of climbing it. Identify where they start on the pyramid (e.g., a respected leader at esteem needs). What event shatters their progress and pushes them down? Do they recognize their fall, or are they in denial? Can they recover, or is their descent permanent? Example: Anakin Skywalker begins with esteem and purpose, but his fear and anger pull him down to safety and survival. Walter White starts at safety (providing for family) but descends into power obsession (esteem) and finally collapses back into survival mode. Reflection Question: What was the turning point where your character could have changed but didn’t? Exercise 4: The Missing Need – What’s Holding Them Back? Some characters never reach a specific level—and that’s what defines them. This exercise helps uncover what’s missing. Pick a character from your story. Identify which Maslow level they struggle to fulfill the most. How does this unmet need shape their fears, relationships, and actions? Will they ever reach this need, or will it always remain out of reach? Example: Batman is stuck in love & belonging—despite his found family, he isolates himself. Snape never fully reaches self-actualization—his identity is forever tied to past wounds. Reflection Question: If they fulfilled this need, how would it change them? Exercise 5: The Pyramid in a Single Scene A single scene can reveal where a character stands on the hierarchy. Write a moment where a character confronts a key need. Choose a Maslow level that’s driving your character. Introduce an obstacle that challenges this need. Show how they react—do they fight for it, abandon it, or compromise? Example Prompts: Physiological: A character stranded in the desert, facing starvation. Safety: A mother hiding her child during a war. Love & Belonging: A soldier returning home, unsure if they still fit in. Esteem: A musician competing for the opportunity of a lifetime. Self-Actualization: An inventor realizing their purpose isn’t fame, but changing lives. Reflection Question: How does the resolution of the scene impact their long-term character arc? Concluding Thoughts At its core, storytelling is about transformation. Whether a character is fighting to survive, searching for belonging, or striving to fulfill their purpose, their journey is shaped by their needs. Maslow’s Hierarchy of Needs offers a roadmap for character motivation, showing us why they act the way they do and how they evolve through conflict. Not every character climbs to self-actualization—some stay stuck, others fall, and a few never realize what they truly need. But understanding where your character stands on this hierarchy can help create depth, emotional resonance, and organic growth that makes them feel real. The best stories are not just about what happens, but why it matters. When you craft characters whose struggles mirror the fundamental needs of human nature, you create narratives that connect with readers on a visceral level. All great characters are driven by desire, but what they want is rarely what they truly need. – John Truby     Let me know if this blog post was helpful! I wish you all the success with your writing! —Bair✍︎ Disclaimer: Please note that this blog post contains affiliate links, which means I may receive a referral commission at no extra cost to you . This support helps keep my website up & running, and me writing! Thanks so much for your support! Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

Why Do Some Stories Feel Timeless? Have you ever read a book or watched a movie and thought, This feels familiar —even if it was a brand-new story? That’s because most stories follow a core structure—one that’s been told for centuries, across cultures and time periods. While every story is unique, most fit into one (or a blend) of these 8 fundamental archetypes. These story structures resonate with readers on a deep level, making them some of the most compelling and enduring forms of storytelling. Let’s dive in! :) Table Of Contents Why Some Stories Feel Timeless Archetype 1: The Quest Archetype 2: Overcoming The Monster Archetype 3: Rags To Riches Archetype 4: The Hero's Journey (or The Voyage & The Return) Archetype 5: The Comedy Archetype 6: The Tragedy Archetype 7: The Rebirth Archetype 8: The Anti-Story (or Subverting The Archetypes) Concluding Thoughts The 8 Basic Story Archetypes (And Why They Work!) 1.) The Quest – The Hero’s Journey Begins The heart of a Quest story is determination, growth, and perseverance. The hero often starts out naïve or untested, but through trials, they develop strength, wisdom, or resilience. The obstacles aren’t just physical—they challenge the hero’s beliefs, fears, and limitations. Whether it’s a literal treasure or an emotional revelation, the journey itself is what changes them. Definition: A hero embarks on a journey to find something valuable, facing obstacles along the way. Why It Works: Humans crave adventure and purpose. The hero’s journey mirrors our personal struggles for growth and discovery. Examples: The Lord of the Rings – Frodo must destroy the One Ring. Indiana Jones – Always seeking a legendary artifact. Percy Jackson – A demigod on a journey of self-discovery. How to Subvert It: What if the goal is a lie (e.g., the “treasure” doesn’t exist)? What if the hero never returns ( Interstellar )? What if the hero refuses the call ( The Last Jedi )? Common Pitfalls: A generic hero with no personal stakes. A journey where every challenge is too easy to overcome. Questions for Writers: What motivates the hero to embark on this quest? How does the journey change them? What is the real treasure—external or internal? 2.) Overcoming the Monster – Facing Overwhelming Evil At its core, this archetype represents the battle between good and evil—but not all “monsters” are literal creatures. Sometimes, the antagonist is a corrupt system, an inner demon, or even fate itself. These stories resonate because they reflect our own fears—fighting against something stronger, scarier, or seemingly unstoppable. Victory often comes not just from strength, but from cleverness, teamwork, or a willingness to face the unknown. Definition: A hero must confront and defeat a great external threat—a villain, monster, or internal demon. Why It Works: Taps into our primal fears of danger and survival. Readers love rooting for an underdog against impossible odds. Examples: Beowulf – Classic monster-slaying. Jaws – A shark terrorizing a town. Stranger Things – The kids must battle supernatural monsters. How to Subvert It: What if the monster isn’t truly evil ( Frankenstein )? What if the hero fails to defeat it ( Infinity War )? What if humanity is the real monster ( The Mist )? Common Pitfalls: A generic villain with no motivation. The monster is too easy to kill—no real stakes. Questions for Writers: What does the monster symbolize in the story? What personal fears does the hero need to overcome? Can the monster be defeated by non-traditional means? 3.) Rags to Riches – The Underdog’s Rise The true power of this archetype isn’t just about wealth or fame—it’s about self-worth and transformation. The protagonist often starts unnoticed, underestimated, or mistreated, making their rise all the more satisfying. However, these stories often come with a lesson: success isn’t just about external achievements, but about proving something to oneself. Definition: A protagonist rises from obscurity to success, often proving their worth along the way. Why It Works: We love seeing underdogs succeed—it gives hope! It speaks to personal growth and transformation. Examples: Cinderella – From rags to royalty. Harry Potter – From neglected child to powerful wizard. Rocky – A nobody boxer becomes a champion. How to Subvert It: What if the character loses everything again? What if the protagonist becomes corrupted by success? What if they find out riches weren’t what they truly needed? Common Pitfalls: Success comes too easily—readers want to see struggle. A passive protagonist who gets success handed to them. Questions for Writers: What is the cost of success for the character? Is their growth external (status) or internal (self-worth)? What happens after they achieve their goal? 4.) The Hero’s Journey  – Voyage & Return This archetype explores the push and pull between the familiar and the unknown. The protagonist is thrown into a new world or situation, often one filled with danger, wonder, or strangeness. But returning home isn’t just about the physical journey—it’s about how they’ve changed. The challenge comes when they realize home may not feel the same anymore because they themselves are no longer the same person. Definition: A hero ventures into an unknown world and returns changed. Why It Works: Mirrors our real-life journeys of growth and transformation. Readers love stories about exploration and discovery. Examples: Alice in Wonderland – A strange world teaches Alice lessons. The Odyssey – Odysseus must fight to return home. The Wizard of Oz – Dorothy learns that home was what she truly needed. How to Subvert It: What if the hero doesn’t want to return? What if home has changed while they were gone? What if the hero forgets everything they learned? Common Pitfalls: The hero doesn’t change enough—making the journey feel pointless. The return is too easy or anticlimactic. Questions for Writers: How does the new world challenge the hero’s beliefs? What is the emotional cost of returning home? Does the hero’s home feel the same or different when they return 5.) Comedy – The Lighthearted Escape Comedy thrives on miscommunication, irony, and absurdity, but the best comedic stories aren’t just about making people laugh—they reveal truths about human nature. Whether through romantic mix-ups, social satire, or ridiculous circumstances, comedy helps us see our own flaws and struggles through a humorous lens. At its heart, it reminds us that life doesn’t always go as planned—but that’s what makes it interesting. Definition: A humorous story where misunderstandings, satire, or absurdity drive the plot. Why It Works: Comedy relieves tension and makes stories more relatable. Laughing at life’s absurdity is universally appealing. Examples: Pride and Prejudice – Romantic misunderstandings. Crazy Rich Asians – Family drama, love, and humor. The Good Place – A comedy about ethics and the afterlife. How to Subvert It: Mix comedy with dark themes ( The Truman Show ). What if the comedy hides a deeper tragedy? Blend humor with unexpected genres ( Shaun of the Dead ). Common Pitfalls: Forcing humor that doesn’t feel natural. Too many random jokes with no purpose. Questions for Writers: Is the comedy situation-driven or character-driven? What deeper themes hide beneath the humor? 6.) Tragedy – The Downward Spiral Tragedies explore the darkest corners of the human experience, showing how flaws, choices, or fate can lead to ruin. These stories don’t just end in despair for the sake of it—they force us to confront uncomfortable truths about power, morality, and consequences. The best tragedies make readers sympathize with the doomed character, even as they watch their downfall unfold. Definition: A protagonist’s flaws or poor choices lead to their downfall. Why It Works: Tragedy makes us confront hard truths about human nature. Readers love watching a train wreck unfold. Examples: Macbeth – Consumed by ambition. Breaking Bad – Walter White’s descent into villainy. How to Subvert It: What if the character escapes their fate at the last moment? What if we see the tragedy from the villain’s POV? Common Pitfalls: Making the protagonist too unlikeable—readers need to empathize. The downfall feels forced rather than inevitable. Questions for Writers: What is the fatal flaw that causes their downfall? Do they realize their mistake too late? 7.) Rebirth – A Second Chance at Life Some of the most powerful stories revolve around transformation and redemption. In the Rebirth archetype, a character—often one who has fallen into darkness, despair, or corruption—gets a chance to change. This can be a literal rebirth (a character is resurrected or given a second life), or it can be a metaphorical rebirth, where they overcome a past wound, fear, or mistake. The core of this archetype is renewal—a character must experience deep internal change to become someone new. This is why it’s often seen in redemption arcs and coming-of-age stories. Definition: A character undergoes a literal or metaphorical rebirth, often after falling into darkness or despair. Why It Works: People love redemption arcs—we want to believe that change is possible. It taps into the theme of transformation, growth, and second chances. Examples: A Christmas Carol – Scrooge transforms from a miser into a generous man. Beauty and the Beast – The Beast learns to love and is freed from his curse. Zuko (Avatar: The Last Airbender) – A fallen prince finds redemption. How to Subvert It: What if the character refuses redemption? ( Joker, There Will Be Blood ) What if the transformation makes them worse instead of better? What if they seek redemption but can never fully escape their past? Common Pitfalls: The redemption feels too sudden or unearned. A character changes only because the plot demands it, not because of real growth. Questions for Writers: What triggers the character’s turning point? Do they seek redemption for themselves, or for others? Is their rebirth internal (mindset) or external (circumstances)? 8.) The Anti-Story  – Subverting the Archetypes Not every story follows a traditional arc. Some flip storytelling conventions on their head, either by deconstructing archetypes, breaking narrative rules, or rejecting traditional resolutions. These stories challenge the audience’s expectations—sometimes making them question who the real hero or villain is, or whether a satisfying ending is even possible. While these stories can be bold and thought-provoking, they require a strong thematic purpose—otherwise, they risk frustrating the audience instead of challenging them. Definition: A story that intentionally breaks or inverts traditional storytelling structures, either by deconstructing tropes or rejecting resolutions. Why It Works: Readers love stories that challenge expectations. It makes us question storytelling itself—what makes a hero, what defines justice, etc. Examples: Gone Girl – Turns the mystery/thriller genre on its head. Game of Thrones – Constantly subverts expectations ( Who’s really the hero? ). Don’t Look Up – A satire that refuses the typical “hero saves the day” resolution. How to Subvert It: Play with unreliable narrators ( Fight Club, The Girl on the Train ). Let the “villain” be the protagonist ( Breaking Bad ). Refuse to give the audience a satisfying resolution ( No Country for Old Men ). Common Pitfalls: Subverting tropes for the sake of it—there should still be purpose. A frustrating or unsatisfying ending that alienates readers. Questions for Writers: What expectation am I intentionally breaking? Does my subversion enhance the story, or just shock the audience? Will the reader walk away feeling challenged or just confused? Concluding Thoughts While every story is unique, these eight archetypes serve as the foundation of storytelling. Writers don’t need to follow them rigidly, but understanding them provides a framework for crafting compelling, emotionally resonant narratives. Mix, match, or subvert these archetypes to create something fresh, engaging, and unforgettable. By recognizing these timeless patterns—and learning how to blend, twist, or reinvent them—you can craft stories that feel both familiar and entirely your own. Personally, I'm always drawn to a good subverted story (i.e. A Song of Ice and Fire), but I love a good Quest, Hero's Journey, Comedy, and Rebirth story. The story I'm working on (read more about it here ) currently incorporates FIVE (😱🤯😵‍💫) of the eight archetypes: The Quest, Hero's Journey, Overcoming The Monster, Rags to Riches, and Rebirth. If that doesn't emphasize my love for certain story archetypes, I don't know what will, haha!. But don't feel a need to shoehorn your story into only one archetype, as your story—like mine—can include several types. So to wrap up this blog post, I'll leave you with a wise quote by George R.R. Martin:  “The best way to be original is to understand what has been done before.” My questions to you are:  Which archetype do you love to read and write about most? Did you have any idea that all stories fall into one of these eight archetypes? Let me know your answers in the comments below! Happy writing! —Bair✍︎ Disclaimer: Please note that this blog post contains affiliate links, which means I may receive a referral commission at no extra cost to you . This support helps keep my website up & running, and me writing! Thanks so much for your support! Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !

"Anyone can become angry—that is easy. But to be angry with the right person, to the right degree, at the right time, for the right purpose, and in the right way—that is not easy.”  — Aristotle Hello, readers! This isn’t a typical blog post—I just wanted to share some thoughts I’ve been mulling over lately —specifically anger . I found this topic to be vastly interesting, perhaps you will too. Anger is something curious to me. Personally, I am not someone who is prone to anger. I often find the emotion unnecessary unless I am witnessing an injustice. Even when I rationalize and remind myself that all emotions are valid, it is not an emotion that comes easily to me—and that sparked a curious realization: Anger is not a stand alone emotion. Anger is almost always a secondary emotion, triggered by something deeper—fear, injustice, neglect, rejection, insecurity, or sadness. It’s a response to something beneath the surface. The only time I can think of where anger might be unprovoked is when someone’s hormones are out of balance (hello, mid-cycle mood swings). But even then, the cause isn’t nothing —it’s biological. So, this got me thinking: If anger is always tied to something deeper, what does that mean for our characters? And how can we use it to add nuance to our writing? Using Anger to Add Depth to Your Characters 1.) What Does Anger Reveal About Your Character? A character’s anger—or lack thereof—can speak volumes about their personality, experiences, and wounds. Are they quick to anger? Maybe they grew up constantly having to defend themselves because no one ever stood up for them. Are they slow to anger? Maybe they were taught that their emotions were invalid, so they learned to bottle them up. Do they believe anger is dangerous? Perhaps they had a toxic or abusive upbringing and now suppress their anger out of fear of becoming like their abuser. Do they lash out easily? That could indicate a deep-seated insecurity, where defensiveness is a survival mechanism. Anger isn’t just an emotion—it’s a window into a character’s backstory and psychological makeup. 2.) Anger as a Catalyst for Character Growth If a character suppresses their anger, their journey might be about learning to express it in a healthy way. If a character acts out in rage, their growth could involve learning restraint and emotional control. Example: A warrior character who views anger as a weapon might learn that unchecked rage makes them reckless. Over time, they master the art of channeling their fury into something productive—be it strategy, wisdom, or leadership. Letting a character grapple with anger—learning when to use it, when to let it go—can make for powerful development arcs. Using Anger in Your Storytelling Character Development Anger can be a defining trait or a hidden vulnerability. Ask yourself: What specifically triggers their anger? How do they express it—explosively, coldly, silently? How does it shape their relationships and choices? Example: In a fantasy novel, a protagonist’s rage over betrayal could push them to uncover hidden strengths—or blind them to dangerous truths. Plot Progression Anger can be a turning point in the story. A character’s outburst or moment of rage might escalate conflicts, expose secrets, or lead to life-altering decisions. Example: A character who finally stands up to their oppressor might spark a rebellion—or destroy an alliance. Dialogue & Conflict Angry dialogue can create intense, memorable moments between characters. It can be emotional, raw, and reveal hidden wounds. Example: A heated argument might not be about what’s being said but what’s left unsaid—unresolved resentment, old betrayals, or deeper fears. Emotional Resonance Readers connect with emotions. Anger, when portrayed authentically, can make a story more immersive. Instead of just saying “he was furious,” describe how it feels. Example: Instead of “She was angry,” try “Her hands clenched into fists, nails biting into her palms. A slow heat crawled up her neck, making her vision blur at the edges.” Thematic Exploration Anger can tie into larger themes like justice, revenge, oppression, or redemption. Example: A revenge-driven protagonist might struggle with the morality of their rage, questioning whether their anger is justified or consuming them. Concluding Thoughts Anger is a powerful emotion that can drive characters to extraordinary actions and create stories that captivate readers. By understanding the root cause of anger, we can craft characters that feel real, layered, and emotionally compelling. So next time you write an angry character, ask yourself: What is the real source of their anger? What does it reveal about their past? How does it shape their journey? Anger is never just anger—it’s a story waiting to be told. I'd love to hear your thoughts on the post and writing anger. Drop a comment below! Happy writing! —Bair✍︎ Disclaimer: Please note that this blog post contains affiliate links, which means I may receive a referral commission at no extra cost to you . This support helps keep my website up & running, and me writing! Thanks so much for your support! Want to stay up to-date on get exclusive updates and insights on future projects, book launches, writer and reader resources, FREE literature, writing freebies, and a more? Sign up for my Newsletter ! Find more helpful writing tips on the rest of my blog . Struggling to get your word count in? Check out my writing podcast ! Need a new notebook? Check out my hand-bound books ! Support the blog on Ko-fi ! INSTAGRAM  | LINKEDIN  | PINTEREST Check out My Writer & Reader Merch Store Like this post? Share the link on your social media or pin the image below to your Pinterest board !