Writing Exercise 5: Conflict Sketches
This is part of my writing exercises workbook, available to subscribers.
Conflict drives the story forward by challenging characters, testing their values, and pushing them to make difficult decisions. Without conflict, stories can feel flat or predictable. By skillfully weaving conflict into a narrative, authors can keep readers on the edge of their seats, eagerly turning pages to discover how the characters will navigate their struggles. Conflict also helps develop characters, revealing their strengths, weaknesses, and motivations as they grapple with challenging situations. Ultimately, well-crafted conflict contributes significantly to a story’s overall impact and memorability.
There are three main types of conflict in a story: external, internal, and situational. External conflicts involve characters’ struggles against other people or forces outside their control (e.g., war, natural disasters). Internal conflicts occur within the character themselves as they grapple with personal issues such as self-doubt, fear, or moral dilemmas. Situational conflicts arise from the circumstances surrounding the characters and can be related to location, time-period, socioeconomic status, etc.
In this exercise, pick a conflict type, identify who or what is opposing your character, and sketch out a narrative to set the stage for the conflict. The sketch a narrative highlighting the climax or resolution to the conflict.
Let’s look at an example where a character is facing an external conflict by being stranded after a shipwreck:
The sun sank lower in the sky, casting long shadows across the sandy beach. Jane stood alone, her heart pounding against her ribs as she surveyed the vast expanse of water that lay between her and safety. Her ship had been wrecked during a violent storm, leaving her stranded on this desolate shore with nothing but the clothes on her back and a battered lifeboat at her disposal. The sky darkened further, casting an ominous hue over the waves that crashed relentlessly against the rocky shoreline. She knew she had to act quickly if she was going to survive this ordeal.
Without filling in all the struggles Jan faces, let’s jump to the climax of her struggle.
As the night wore on, Jane battled against exhaustion and despair. Her muscles burned as she pushed the lifeboat further up the beach, its weight seemingly growing heavier with each step. The waves crashed harder now, threatening to engulf her in their icy embrace. With a last burst of strength, she managed to drag the boat high enough above the tide line that it would be safe from the incoming storm. Collapsing onto the sandy ground, Jane stared out at the darkness that shrouded the sea, knowing that survival was far from guaranteed but resolved to fight for her life, nonetheless.
Finally, let’s look at a resolution to this conflict.
The storm raged on for days, battering the island mercilessly and leaving little hope of rescue. But against all odds, Jane managed to survive by rationing her food supplies and enduring the harsh elements. As the skies cleared and the sun once again appeared over the horizon, she felt a renewed sense of determination to find a way off this desolate island. With what remained of the lifeboat’s materials, she constructed a makeshift raft that could carry her across the treacherous waters. Finally, after days of perseverance and courage in the face of adversity, Jane set sail towards the distant horizon, her heart filled with hope for a new beginning.
This example is purely throw-away work, but it does help reinforce the need for conflict to progress and drive the story forward. In this example, it could easily draw on internal conflict based on Jane’s self-doubt of her ability to do the things her situation demands of her. It could have iterations of trying, failing, and trying again until she succeeds in saving herself. It could become a single chapter illustrating her character traits and setting up a longer conflict within the story. The key is finding a situation, actions, and results that will drive the story forward.
Remember, these exercises are not supposed to be the opening to the next Great American Novel, they are about practicing the craft of writing and helping breakthrough any blocks you may be feeling.
As you perform this exercise, change the focus of the conflict from external to internal to situational. Consider starting with the resolution and then work backwards to get to the situation. Play with your narrative to stretch yourself and expand your writing.
Good luck, and have fun writing.
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