Using Conflict to Move Your Story Forward

You know that moment when you’re reading a book or watching a film, and everything just clicks? The tension is thick, you’re leaning forward, turning pages too fast, and you think, “Wow! This is good!”

That magic almost always comes from conflict.

Because while beautiful descriptions, deep characters, and clever dialogue are all wonderful, but the real engine that drives a story? It’s not a pretty setting or a charismatic hero – it’s conflict. Conflict is what makes your reader care, keeps them turning pages, and ultimately, is what propels your story from beginning to end.

You might be wondering why conflict is so important, right? Well, let me tell you that it’s not just about creating chaos or trouble for your characters; it’s about driving the plot forward, making your readers engage with your story, and keeping them hooked till the very end.

So, what exactly is conflict in a story? In simple terms, conflict refers to any obstacle that stands between your character and their goal. It can be an external force like another person or nature itself, or it could be
internal, such as fear, doubt, or even a moral dilemma. A well-crafted conflict helps you move the story forward by creating tension, raising stakes, and pushing characters to grow and change.

What exactly is “conflict” in storytelling?

First, let’s define what we mean by conflict, because it’s not always punches flying or shouting matches (though it can be).

In story terms, conflict is any struggle between opposing forces. It’s a character wanting something, and something (or someone) standing in their way.

That “something” can be:

• Another person: a rival, an enemy, a boss, a parent, a jealous friend.
• Themselves: a weak will, fear, guilt, addiction, indecision.
• Nature or the environment: a storm, a shipwreck, a haunted forest, a burning city.
• Society or systems: law, prejudice, class, bureaucracy, war, injustice.
• The unknown: a mystery, a prophecy, a curse, a riddle, a monster.

Conflict is the friction that creates movement. Without it, even the most charming characters and beautiful prose can feel flat because nothing is really at stake.

Think of conflict like fire under a kettle. No heat = no steam. No conflict = no story momentum.

Why conflict is the engine, not just the drama

It’s easy to think of conflict as “drama” or “fight scenes,” but it’s so much more than that. Conflict is the mechanism that:

• Forces characters to make choices.
• Reveals true nature and personality under pressure.
• Pushes the plot forward.
• Creates tension and suspense.
• Makes the ending feel earned.

Imagine a character who wants more than anything to be a musician, but they’re afraid of performing in public. That’s internal conflict.

Now imagine they get invited to audition for a big competition, but their domineering parents wants them to pursue a legal career instead. That’s external conflict.

Put those together, and suddenly we’ve got a rich situation full of tension. The story is now about: Will they overcome their fear? Will they stand up to their parent? Will they even go to the audition?

That’s what keeps a reader turning pages. Not “and then they practised their scales,” but the growing pressure of all that conflict.

Small conflict vs. Big conflict

Conflict works best when it operates on multiple levels throughout the story. I like to think of it as:

• Micro-level conflict (small, everyday struggles).
• Mid-level conflict (important scenes, turning points, obstacles).
• Macro-level conflict (the overall story problem, the big question of the novel).

Let’s imagine a story about a woman moving to a new town after a divorce.

Micro-level conflict:

She can’t find the right coffee shop, her Wi‑Fi is spotty, her new neighbour keeps borrowing her stuff without asking, and she spills coffee on her only clean blouse on the first day at her new job.

These are small, but they add realism and tension. They show her feeling out of place, struggling to adapt.

Mid-level conflict:

She develops a crush on a fellow worker, but he’s already in a relationship. She starts doubting herself again, falling into old patterns of insecurity.

This is a turning point: will she keep hiding behind her ex’s shadow, or start seeing herself as someone who deserves love and happiness?

Macro-level conflict:

Over the whole story, the big question is: Can she truly rebuild her life after the divorce, and rediscover who she is outside of that relationship?

All the smaller conflicts are stepping stones that move her toward that final confrontation with herself and her past.

When you plan your story, ask:

• What’s the big conflict the whole story is about?
• What are the mid-level conflicts that test the character at key moments?
• What are the small, daily conflicts that make the world feel real and messy?

If you can answer all three, you’ve got a strong structure.

How to introduce conflict early

One of the most common first-draft problems is too much setup and too little conflict. The opening pages are full of description, backstory, and “normal life” – and the story feels slow.

Readers stick around because they want to know what’s going to happen. If nothing’s at stake, their mind starts wandering.

So, how do you fix that?

Drop the reader into a small conflict right away.

For example:

• A detective is eating breakfast when a call comes in about a murder.
• A new employee is trying to impress their boss, but the boss appears cold and dismissive.

Even a tiny conflict creates movement:

• The detective now has a case.
• The employee must adapt to a hostile work environment.

Those small conflicts create immediate questions: What will happen? Will they succeed? How will they cope? That’s what hooks the reader.

And crucially, those early conflicts can be tied to the bigger story conflict later on. The murder might connect to the detective’s past. The grumpy boss is actually kind of related to the big corruption scandal brewing at the company.

So, in your first chapter, ask yourself:

• What does the character want right now?
• What’s standing in their way?
• What small, immediate problem can I give them in the first 500 words?

That lit the fuse. The story officially starts when the first conflict begins!

Conflict as a way to reveal character

One of the most powerful, and often underused, functions of conflict is how it reveals who a character really is.

When things are going smoothly, people can act polite, controlled, or fake a certain way. But under pressure – when conflict hits – their true self tends to show.

Think of:

• A generous character who breaks down and screams when their money is stolen.
• A quiet, shy person who suddenly stands up in a crowd to defend someone being bullied.
• A perfectionist who crumbles when they make a tiny mistake.

Conflict is like a stress test for personality. It shows:

• Strengths and weaknesses.
• Fears and secrets.
• What they value most.
• How they handle failure, loss, or pressure.

So, design your conflicts not just to block the character, but to probe them. Each conflict should reveal something new, or deepen what the reader already knows.

For example, if you have a character who’s highly loyal, don’t just tell us that. Show it in a conflict:

• A friend is in danger, and they have to choose between helping them or saving their own job.
• They’re offered a huge reward to betray a secret, and they must decide whether to stay silent.

Their choices in conflict tell us more about them than a whole paragraph of description ever could.

How to use conflict effectively

1. Start with a clear goal for your character: Before introducing any conflict, make sure you have a clear idea of what your character wants. What is their objective? What do they hope to achieve? This will help you create conflicts that are relevant and meaningful to the story.
2. Vary the types of conflict: There are different types of conflicts – Person vs. Person, Person vs. Nature, Person vs. Society, Person vs. Self, etc. Using a mix of these can make your story more engaging and interesting. For example, you could start with a character facing conflict against another person, then introduce a nature-based obstacle, followed by an internal struggle.
3. Raise the stakes: Conflict should not be static; it needs to evolve as the story progresses. As your characters overcome one challenge, present them with bigger and more complex problems. This will keep readers on edge, wondering what happens next.
4. Show don’t tell: When introducing conflict, avoid telling the reader about it. Instead, show how the conflict affects your character emotionally and physically. Use vivid descriptions to make the scene come alive in the reader’s mind.
5. Let your characters grow through conflict: A well-crafted story should not only move forward but also help characters grow and change. Use conflicts as opportunities for your characters to learn, adapt, and transform. This will keep readers invested in their journey.
6. Connect with the genre: Different genres require different types of conflict. For instance, a romance novel might have more interpersonal conflicts while an adventure story could involve nature-based obstacles. Make sure you understand your genre’s conventions and tailor your conflicts accordingly.
7. Keep it realistic: While you can certainly push the boundaries of reality in fiction, try to keep your conflicts grounded in a believable world. This will help readers connect with the story on an emotional level.
8. Use subplots wisely: Conflicts don’t always have to be central to the main plot. You can also introduce subplots that explore different aspects of conflict, adding depth and richness to your narrative.
9. Don’t fear repetition: It’s okay to repeat certain types of conflicts throughout a story if it serves a purpose. For example, in a coming-of-age story, the protagonist might face similar internal struggles at different stages of their life, showing growth and change over time.
10. Have fun with conflict: Remember that writing is an art form, and there are no hard and fast rules. Use conflict creatively to make your story unique and memorable. Don’t be afraid to experiment or take risks!

Multiple types of conflict in the same story

The most compelling stories usually layer different kinds of conflict. Let’s look at a common example:

Imagine a fantasy novel where a young woman is chosen to be the next queen, but she doesn’t want to be.

Man vs. Man (external):

• Rival nobles plot against her.
• A general accuses her of being unfit to rule.
• Her mentor wants her to act ruthless, but she hopes for peace.

Man vs. Self (internal):

• She doubts her own worth and ability.
• She’s afraid of disappointing her homeland.
• She struggles with whether power is worth the moral cost.

Man vs. Society/System:

• Ancient traditions demand blind obedience.
• The people are divided between support and rebellion.
• The law itself is corrupt and unjust.

Man vs. Nature/Supernatural:

• A magical storm threatens the kingdom.
• A dark prophecy hangs over her coronation.
• A cursed artefact must be recovered or destroyed.

Because all these conflicts are happening at once, the story feels rich, layered, and tense. Every choice the character makes has ripples across different levels:

• A decision to fight a noble might strengthen her position with the army, but deepen her guilt and alienate her moral core.
• A heroic act to save the people might win popular support, but play into the hands of a rival who wants open war.

That’s how conflict keeps the story moving: every scene has something at stake, and every choice changes the landscape.

How conflict drives the plot

Plot is really just a sequence of events driven by cause and effect, and conflict is the “cause” part.

Here’s how it usually works:

1. Character wants something (goal).
2. Something (or someone) blocks them (conflict).
3. They take action to overcome the block (action).
4. That action leads to a new situation – which creates a new conflict (escalation).

Loop after loop, conflict after conflict, and the story moves forward.

For example, in a thriller:

• Protagonist wants to protect their family.
• Gang leader threatens them.
• They go on the run, steal money, hide.
• But now the police are hunting them, and the gang is closing in.
• Now they must decide whether to surrender, fight, or escape.

Each conflict forces a decision, and each decision pushes the story into new territory. The plot isn’t just a list of events; it’s a chain reaction of conflict > action > consequence > new conflict.

So, when you’re stuck, ask:

• What does my character want in this scene?
• What’s stopping them?
• How does that obstacle force them to act?
• What’s the consequence of that action?

If you answer those questions honestly, the plot will almost write itself.

Escalating conflict: The art of raising the stakes

A story that stays at the same level of tension quickly becomes boring. That’s why you need to escalate conflict.

Think of it like turning up the heat:

• Early conflict: Small disagreements, misunderstandings, manageable obstacles.
• Mid‑story conflict: Bigger problems, serious consequences, relationships on the line.
• Climactic conflict: Life-or-death, everything at risk, no easy way out.

Escalation happens when:

• The goal becomes more important.
• The consequences of failure grow worse.
• The obstacles become stronger, smarter, or more personal.

For example, in a romance:

• Early: They keep misreading each other, having awkward dates.
• Mid: They discover a secret that threatens their trust, and they pull apart.
• Late: One is about to leave the country, and the other must decide between pride and love.

In a mystery:

• Early: A minor theft or a small clue.
• Mid: A murder, a lie exposed, the detective’s own reputation is on the line.
• Late: The killer is someone close, and the hero is in real danger.

Each time, the conflict feels bigger and more urgent. The reader feels like there’s no going back, and that’s what keeps them reading.

So, plan your story beats with escalation in mind:

• What’s the “worst thing” that could happen at this point?
• How can the next obstacle be even harder than the last?
• How can the character’s personal stakes grow (love, identity, survival, justice)?

If the conflict keeps rising, the story will keep moving.

Conflict in relationships

Everyone has experienced conflict in a relationship, but how you show conflict on the page of your story is what makes fictitious relationships feel real and dynamic. Long-term relationships in stories often follow a pattern like this:

1. Initial attraction (minimal conflict).
2. Growing intimacy (small conflicts appear).
3. Big conflict (misunderstanding, betrayal, sacrifice, or separation).
4. Resolution and growth (reconciliation, new understanding, or a bittersweet ending).

But to keep the story moving, those conflicts need to feel justified and meaningful.

For example, a couple doesn’t argue because they’re “bad” people; they argue because:

• Their values clash (e.g., one wants adventure, one wants safety).
• They have different communication styles (e.g., one withdraws, one pushes).
• Their past wounds resurface in the relationship (e.g., one was abandoned, so they fear closeness).

Those conflicts aren’t just drama – they force each character to grow, change, or face their own flaws.

And because relationships are ongoing, the same conflict can echo in different ways:

• A small misunderstanding in Chapter 3.
• A big blowout in Chapter 15.
• A final resolution in the last chapter.

Each time, the conflict pushes the relationship forward and deepens the characters.

When conflict feels unnatural

Sometimes, writers add conflict just because they think the story “needs more drama,” but that can backfire. If the conflict feels forced, it’ll break reader trust.

Here’s how to avoid that:

• Make sure the conflict fits the character and world: A quiet, bookish librarian wouldn’t suddenly start a bar fight without a strong reason. But if the bar is where her kidnapped friend was last seen, and she’s desperate… that feels believable.
• Tie conflict to character goals: Conflict should arise from what the character wants, not from random “bad things happening.” If the character wants to escape prison, every obstacle (guards, locks, betrayals) flows from that.
• Don’t escalate just for shock value: A character’s best friend doesn’t have to die in Chapter 10 just to “raise the stakes.” If it doesn’t grow from earlier conflicts and character arcs, it feels cheap.
• Let some conflict simmer: Not every conflict needs to explode right away. A slow-burning tension (a suspicious glance, a cold remark, a missed phone call) can be more powerful than a shouted argument.

Conflict feels real when it grows naturally from who the characters are and what they want.

Using Conflict to Create Pacing

Conflict is one of the most powerful tools for controlling pacing.

• High conflict = fast pace: Action scenes, arguments, chases, and urgent decisions create tension and speed. The chapters feel shorter and the reader can’t put the book down.
• Low conflict = slower pace: Scenes where characters reflect, bond, or just live daily life can feel calmer and more reflective.

A well-paced story shifts between these modes:

1. Rising tension – conflict builds.
2. Crisis – major conflict, big event.
3. Calm/fallout – character deals with the consequences.
4. New tension – a new conflict begins.

If you’re stuck in a “slow” section, ask:

• What small conflict can I add?
• A misunderstanding? A deadline? A small betrayal? A sudden change in plans?

If the whole story feels too explosive, ask:

• Where can I let the characters breathe?
• A quiet moment of reflection, a conversation, or a small win?

Balancing conflict and calm keeps the story from feeling either dull or exhausting.

How to end conflict in a satisfying way

The ending of a story is really about resolving (or redefining) the main conflict. A satisfying ending usually has:

• A clear choice by the protagonist under pressure: They finally act in a way that shows their growth, not their old self.
• A consequence that feels earned: If they succeed, the victory should cost something. If they fail, the failure should reveal something important.
• The big conflict transformed, not just removed: Often, the character doesn’t “win” by destroying the enemy, but by changing their relationship with the conflict (e.g., accepting loss, finding peace, changing a system from within).

So, when you’re writing the ending, think:

• What’s the final form of the central conflict?
• What painful choice must the character make?
• How does that choice show how they’ve changed?

If the climax resolves the core conflict in a way that feels true to the character and the story, the reader will feel that the whole journey mattered.

Guidelines

1. Start with the basics: Conflict is essential for any good story, as it creates tension and keeps readers engaged. Think of a goal or problem that your character wants to solve or overcome. This will help you create conflicts that are relevant and meaningful to the story.
2. Mix it up: There are different types of conflict – Person vs. Person, Person vs. Nature, Person vs. Society, Person vs. Self, etc. Use a mix of these to make your story more interesting. For example, start with a character facing conflict against another person, then introduce a nature-based obstacle, followed by an internal struggle.
3. Raise the stakes: As your characters overcome one challenge, present them with bigger and more complex problems. This will keep readers on edge, wondering what happens next. Make sure each new conflict is connected to the previous one in some way so that it feels natural and believable.
4. Show don’t tell: When introducing conflict, avoid telling the reader about it. Instead, show how the conflict affects your character emotionally and physically. Use vivid descriptions to make the scene come alive in the reader’s mind. This will help readers connect with your characters on a deeper level.
5. Let your characters grow through conflict: A well-crafted story should not only move forward but also help characters grow and change. Use conflicts as opportunities for your characters to learn, adapt, and transform. This will keep readers invested in their journey.
6. Connect with the genre: Different genres require different types of conflict. For instance, a romance novel might have more interpersonal conflicts while an adventure story could involve nature-based obstacles. Make sure you understand your genre’s conventions and tailor your conflicts accordingly.
7. Keep it realistic: While you can certainly push the boundaries of reality in fiction, try to keep your conflicts grounded in a believable world. This will help readers connect with the story on an emotional level.
8. Use subplots wisely: Conflicts don’t always have to be central to the main plot. You can also introduce subplots that explore different aspects of conflict, adding depth and richness to your narrative.
9. Have fun with conflict: Remember that writing is an art form, and there are no hard and fast rules. Use conflict creatively to make your story unique and memorable. Don’t be afraid to experiment or take risks!
10. Flow with the story: Make sure each new conflict fits seamlessly into the overall narrative of your story. This will help you avoid jarring shifts in tone or pacing, keeping readers engaged from start to finish.

Remember, that every writer has their own unique voice, so don’t hesitate to put your own spin on these guidelines as you write.

A simple conflict checklist for any scene

Before you write or revise a scene, ask yourself:

• What does the POV character want in this scene?
• What or who is in their way?
• What’s at stake if they fail?
• What choice must they make?
• How does this change them or the situation?

If you can answer those, the scene has conflict – and because of that, it’s moving the story forward.

Is your conflict working?

If you’re ever unsure whether your conflict is working, ask these five questions:

1. Does this scene clearly show what the character wants?
2. Is there a clear obstacle (person, force, self, or situation) in their way?
3. Does this conflict change something (situation, relationship, character)?
4. Do the stakes feel real and personal to the reader?
5. Does the conflict feel like a natural result of who the character is and what’s already happened?

If most of those answers are “yes,” the conflict is doing its job – pushing the story forward, one messy, wonderful step at a time.

Common mistakes to avoid

1. Overusing conflict: While conflict is essential for a story, overdoing it can make the narrative feel forced or exhausting to read. Limit each conflict and ensure there’s enough resolution before introducing new ones.
2. Ignoring character development: Make sure that conflicts are driven by character motivations and growth. Avoid having characters act out of character just for the sake of creating a conflict.
3. Failing to build tension: Conflicts should increase tension within your story, leading readers to wonder how the situation will be resolved. Ensure each conflict contributes to the overall narrative arc.
4. Neglecting resolution: Every conflict introduced in your story should have some form of resolution or consequence. Avoid leaving loose ends that can disrupt the pacing and believability of your tale.
5. Forgetting about subtext: Conflicts are not always explicit; sometimes, they exist beneath the surface. Be mindful of subtext and how it influences character interactions and relationships within your story.

Key takeaways

1. Diversify conflict: Utilise internal, external, and relational conflicts to create depth in your story and keep readers engaged.
2. Connect with character goals: Ensure that the conflict is relevant to a character’s goal or their personal growth, making it more meaningful for both the reader and the characters involved.
3. Use fear effectively: Make your characters face their fears as a way of escalating tension and creating engaging scenes.
4. Leverage “What If” questions: Pose questions that lead to unique situations or challenges for your characters, driving the story forward through conflict.
5. Maintain balance: Avoid overusing conflict while ensuring there’s enough resolution before introducing new conflicts; this helps maintain pacing and believability in your narrative.

Conclusion: Conflict as your best friend

If you’re ever feeling stuck – if the plot feels like it’s going in circles, or your characters are just sitting around talking – go back to conflict.

Ask:

• What does my character want right now?
• What’s stopping them?
• What’s at stake if they fail?
• And what happens next because of that?

Conflict is not your enemy; it’s your engine. It’s the thing that keeps the story moving, characters growing, and readers turning pages deep into the night.

So don’t shy away from it. Lean into it. Make it messy, make it real, and make it matter.

Because at the end of the day, a story worth telling is almost always a story worth fighting for.