Tag: external conflict

  • The Central Conflict: Plot & Character Intersect

    Character structure, in my opinion, is a definite prerequisite to story structure. Story structure without character structure will only be able to map out a superficial plot without any way to explore and relate to the conflict. The protagonist needs to traverse some sort of journey of internal conflict to bring this deeper meaning to the plot.

    Internal conflict is a potential for growth, the ongoing struggle that takes the protagonist along a Character Arc. This series of states the character goes through shows that growth, or demise, depending on the type of arc. External conflict is the overall potential for struggle over the goal. Story Arc is the series of scenes that show that struggle unfold from potential to resolution. Your story needs both, internal and external conflicts, in order to form a tight Central Conflict

    This outline follows the Central Conflict, which is the intersection of the internal and external conflicts. Each plot point forwards both conflicts along both the Character Arc and the Story Arc, though usually heavier on one or the other. This is also a work in progress as I’m working on adding more story examples.

    Wound Event
    (internal conflict emphasis)

    Shown through a prologue, if at all, this point is the birth of the internal conflict and is most often revealed later in the narrative as backstory. This past event resulted in the protagonist’s flawed starting state when the story opened. It’s what “marked” this particular character to become the protagonist of the story when faced with the external conflict.

    Inciting Incident
    (external conflict emphasis)

    The external conflict begins. This is often off stage but could also be a prologue showing the antagonist’s plans or actions that will soon effect the protagonist. There is usually no interaction with the internal conflict yet.

    Introduce Protagonist
    (internal conflict emphasis)

    Show the protagonist in a characteristic moment and introduce the internal conflict. Expose part of the Internal Conflict Triangle, particularly the Flaw or Lie or both to demonstrate the character’s starting state. These qualities likely serve the protagonist well in his present situation, but could show themselves as weaknesses when the stakes are raised in the conflict with the antagonist. Show that the Want is important to this character as soon as possible.

    Key Event
    (external conflict emphasis)

    For the first time, internal and external conflicts clash and Central Conflict is born. This is the first point that must involve both the Character Arc and the Story Arc. The protagonist becomes personally involved with the external conflict. This is another opportunity to hit one or more of the points of the Triangle, particularly Fear and Wound since this is something that is happening to the protagonist, not an action on his part.

    These important plot points all carry a one-two punch. An action and a reaction. Throughout the first half of the story, the action is on the part of the antagonist, and the protagonist is reacting, but after the Midpoint, the tables are turned.

    Plot Point I
    (internal conflict emphasis)

    For the past few scenes, the protagonist has probably been trying to find a way out of the conflict or even just tagging along. Here, something happens that finally forces him across the point of no return. He is set apart from the other characters involved and now must engage the conflict. There will have been scenes before that seem like there’s no turning back, the Key Event for one, but this is where the protagonist is singled out. The bigger story is now his story.

    Though it might not be a conscious decision, this plot point requires an action on the part of the protagonist. Think back to the characteristic moment that introduced him. Is this a repetition of the Flaw or a change to a discovery of unknown strengths? These two are usually two sides of the same coin. Also think about the Fear, whether this caused the push across the no-return point, or the Fear was hit as a result, the protagonist almost always feels it here.

    Often, the reason this is a point of no return is because, whether the protagonist realizes it or not, the antagonist has recognized the protagonist as such. The protagonist has stepped into a much larger conflict than he intended or perhaps even realized. More is at stake than what motivated him to take action. Theme and meaning are tied into the outcome of the conflict now as well. This point is also the first admittance to what the story is really about. What’s the focus? How do the character and plot, the internal and external conflicts, relate?

    Examples…

    In The Hunger Games, Katniss shoots the apple out of the pigs mouth at her demonstration, setting herself apart from the rest. She is no longer just another tribute. This is the first step in her unconscious shifting goal of winning the Games to defying them. She is becoming the protagonist of the larger conflict, not just her own. Before, her actions were motivated by her goal of protecting her sister, even the her desire to win the Games is strengthened by her promise to Prim. This action, however, was motivated by rash anger at the Gamemakers and as she later realizes, could be directly conflicted with her goal of protecting Prim. Immediately afterwards, it triggers her own deepest Fear that her family will be punished for her actions.

    In Pride and Prejudice, the threat of the Bennett sisters is recognized by Mr. Darcy during the dance at Netherfield, though the magnitude of this is unrealized by Elizabeth at the time. This is what causes him to detach Mr. Bingley from Jane and convince him to remain in London and not to return to Hertfordshire. This is a taste of worst case scenario for the Bennett sisters, becoming old maids or having to marry for convenience.

    In Ready Player One, Parzival obtains the Copper Key, immediately and permanently making his name known to all of the Oasis. In this moment he goes from absolute insignificance and obscurity to the most important and famous player in the Oasis. Just after this, he meets Art3mis, and his relationship with her is the true focus of the story within the setting of the Hunt.

    In It’s A Wonderful Life, George Baily takes a blow when his father dies from a stroke. He tries to protect the Building and Loan because of his father, but he only really fights back when Potter attacks his father’s character. In this speech directed at Potter, he unwittingly singles himself out as the protagonist of the story, the only one who can save the Building and Loan and so also Bedford Falls from becoming Pottersville. The closeup of Potter shows this recognition of the threat that George poses. The other board members saw this drive in George as well when they appoint him to run the Building and Loan. George’s choice is to either leave and let Potter destroy his father’s lifework, or to stay and protect it. He knew when he chose to stay that it was a point of no return. He had said it himself, “I’m going to school, this is my last chance!”

    Introduce Antagonist
    (external conflict emphasis)

    This point can happen anytime between the Key Event and Pinch Point I. Conflict and an antagonist force existed before, but this gives it has a name and a body. We know who exactly we’re up against. Action and reaction cycles follow as the conflict escalates.

    Pinch Point I
    (external conflict emphasis)

    This is the first big success for antagonist force. The protagonist is left shaken, but perhaps not yet conscious of the effect on internal conflict. Reactions focus on what’s the next move in external conflict, rather than any sort of self-examination. The situation is dangerous but not hopeless and the protagonist takes action to regroup in the face of this new awareness of the antagonist’s power.

    Midpoint (Plot Point II)
    (internal conflict emphasis)

    Everything changes after this point. Something happens to make the protagonist see that he’s hit a dead end in his efforts against the antagonist. This is a moment of realization and change of fortune. If things were looking up before, this is where hopes will be shattered and the protagonist may hesitate and question methods and motives and true wants and needs. If things were bleak, this is where new hope will be offered and the protagonist will be able to take new action that was impossible before. This point also includes an introspective moment where the Lie is explored. The protagonist sees it for what it really is, if even for only a moment. After this point, the protagonist takes the initiative and is not just left reacting to antagonist attacks. Also the first seed of the Need is planted in the protagonist’s mind, which sets him on the path towards conquering his internal conflict.

    Pinch Point II
    (external conflict emphasis)

    This is a severe blow to Protagonist’s Triangle, particularly Fear and Wound (the most deeply rooted and vulnerable point, the one the a character tries the hardest to conceal and protect.) This causes inescapable turmoil of internal conflict and the protagonist may already be weakened from energy spent during the Midpoint. The resolve or revelation gained by it may be shaken and the protagonist’s actions in following scenes may be aimless or without a clear plan while he recovers

    Plot Point III
    (internal conflict emphasis)

    This is the first time the protagonist commits to action based on the introspection of the Midpoint. It’s another point of no return which throws the story out of its previous cycle and into a new direction. If Plot Point I was the doorway into conflict, then Plot Point III is the break for the exit.

    The scenes leading up to this are the last calm before the storm of act III and the climax. Momentum from Plot Point I has long since worn out, indecision and indirection worsened since the Midpoint, so there needs to be a new direction for the final push out of the conflict. The protagonist’s way of thinking has been slowly changing since Pinch Point I or even as late as the Midpoint, but this is the first time we see it proven through action.

    Before this, the protagonist was still hoping for an easy way out, perhaps just trying to wait out the conflict, but something will have to change that. This action will be a complete turnaround in priorities and either going after a different goal, or going after the same goal, now backed with new motives. The Character Triangle point of importance here is future oriented, Want and Need

    Examples…

    In The Hunger Games, Peeta and Katniss have been recuperating and waiting out the Games in the cave. When they are invited to the Banquet for something they desperately need, she decides to drug him so she can get the medicine he needs to live. This is the first time she puts someone else’s life above her own in the arena and it is directly linked to her realization that he saved her life during the Midpoint.

    Climax (Pinch Point III)
    (external conflict emphasis

    This includes both the climax of the internal and the external conflicts. The protagonist’s “Blackest Moment” is the climax of internal conflict and the protagonist’s lowest point. It’s the final temptation the protagonist is offered and must overcome in order to heal the Wound for good. The “Climactic Moment” is the peak of external conflict, the big battle with the antagonist and the winning of the protagonist’s goal (in a happy ending). Proof of the change in the protagonist from the Blackest Moment will be shown through action in this Climactic Moment.

    Resolution
    (internal conflict emphasis)

    The conflict is resolved and we show the protagonist’s growth through parallels and compare and contrast with how he was at the beginning of the story.

  • Developing The Protagonist-Antagonist Relationship

    Every story’s plot comes down to the relationship between the protagonist and the antagonist. These two characters make the story, so whatever is tying them together in conflict has to be strong for both of them. The two must be marked by each other in some way. Even before the protagonist takes any action against the antagonist, no other character involved in the conflict could possibly take the lead role. He has already been singled out. The same goes for the antagonist. No other force could possibly undo the protagonist in the same way as the antagonist can.

    Don’t leave this task to the external conflict alone. Logical reasons explaining why each character can’t turn away are vital. However, the plot can only be emotional if something in the internal conflict compels them to battle. The best way to do this is to give both characters something in common.

    Already, your protagonist and antagonist probably have one thing in common. They must be in conflict over the Want, or there is no story. Either they are both after the same thing, or one wants something that the other cannot allow. Even so, the relationship can never be more than Hero vs Villain unless they share more points of internal conflict. The protagonist and antagonist must be tailored to suit each other. This will make each of them the particular opponent for the other, each the only one that is truly dangerous to the other.

    Shared Points of Internal Conflict

    There is nothing more deeply disturbing to the protagonist than to recognize something of the enemy in himself. Not only does he then questions his motives and actions, but a possible “wrong path” comes to light showing what he could become.

    Explore these possible connections between protagonist and antagonist through the points of the Internal Conflict Triangle.

    Wound

    Shared traumatic backstory is the strongest tie between protagonist and antagonist. Voldemort killed Harry’s parents. The Emperor turned Luke’s father into Darth Vader. Katniss’s father was killed because of the way of life inflicted by President Snow. Most Man Vs. Nature stories start out with a prologue showing the protagonist loosing a loved one to the type of natural disaster they become obsessed with. Every time the protagonist faces the antagonist, not only is there the threat of physical danger, but the reopening this past Wound.

    Fear

    Before the protagonist realizes the weakness of his own Fear, it is often discovered and exploited first by the antagonist. It takes the protagonist longer yet to discover the same weakness in the antagonist, and having the same fear himself can make it harder for him to use it.

    Don’t forget that the antagonist has an internal conflict as well. Understanding it is the best way, for your protagonist and for you as the writer, to find out his weaknesses.

    Lie

    A protagonist that shares a Lie with the antagonist is in greatest danger of going down the wrong path. He will be his own worst enemy, and unless he recognizes this Lie for what it is, he can never have a happy ending. The antagonist may be the one to bring this shared Lie to light, using it to shake up the protagonist in telling him that they are not so unalike as he would like to think. This sort of event can easily lead to the Midpoint and a “mirror moment” (as taught by James Scott Bell) where the protagonist reevaluates where he stands in his internal conflict.

    Flaw

    The protagonist may be most blind to this kind of similarity with the antagonist, though it will likely be what he hates the most about him. It might take the intervention of another character, a friend or mentor, to make him see this. (Well suited to the “ally attacks” plot point employed by Libby Hawker.)

    Want

    As I’ve mentioned above, this connection will always be present as it is the strongest link between the internal and external conflicts. Why the characters are after this goal is explained mostly by the Wound and Fear points of internal conflict, the Motivation corner of the Triangle.

    Need

    The antagonist is potentially the best teacher for the protagonist if they share this connection. By learning about the antagonist, he can learn about himself and see what’s really important and what he needs to do to overcome the same obstacles that were the downfall of the antagonist. At the same time, struggling through his own internal conflict may shed light on solutions in the external conflict in how to best defeat the antagonist.

    Bring in the External Conflict

    The protagonist’s inner journey is triggered by the introduction of the antagonist and the external conflict. The struggles of overcoming both of these conflicts, the places where they intersect, will form the central conflict. Each time the stakes are raised, there will be an additional push of stress on both. The protagonist’s usual way of dealing with problems won’t work against the antagonist. These methods were probably effective in the past, which is why they became entrenched, but when faced with the antagonist, they become a vulnerability. Only through the inner journey can they be reformed and brought to the external conflict as a strength.

    The antagonist is not just the story’s bad guy, he is the protagonist’s bad guy. If the antagonist does not strike a nerve in the protagonist, they are not well matched and there is no central conflict. This is why an antagonist must suit the protagonist; just any scary villain won’t do. Their connection must be personal. This will make the effects of the protagonist’s Wound deadly. He must reopen and heal his Wound if he is to survive the conflict with the antagonist, but at the same time, perhaps nothing less could have brought him to do this.

    However you choose to develop your characters, they have to fit your story and they have to fit together. No two characters are more important in this way than the protagonist and the antagonist. These two characters are more alike than you think, certainly more alike than they would care to admit.