While most of us hate conflict in our real lives, when we've settled in to read a book, there's very little that we actually want more. If there's no conflict in the story then what's the point? The characters have nothing to motivate them truly, the stakes are meaningless, and we're left scratching our heads about plot stalls. Whether it’s the private anguish of a hagridden soul or the explosive clash between opposing forces, conflict creates the pressure that propels a plot forward. But what exactly are the different types of literary conflict, and how do we use them to kick our stories up a notch? There are three primary types and plenty of ways to use them.

Internal Conflict: The Battle Within

Internal conflict is the psychological strain that takes place in a character's mind. It can be anything that causes turbulence within someone's headspace. It often revolves around moral dilemmas, a maelstrom of emotion, or a character’s inability to choose between a bad and an even worse decision. This conflict style is crucial for character-driven stories. The character's entire arc mirrors the outward events in the plot.

I think the first time that I ever understood the power of internal conflict was in William Shakespeare’s Hamlet. The play gives us a prince that is torn between whether he is going to avenge his father’s murder, or take the high road and cling to his moral compass. This singular conflict influences every decision Hamlet makes.

Problems that stem strictly from within are what make characters relatable. Readers may not always connect with a protagonist battling a dragon, but they are almost guaranteed to relate to one forced to make a life-altering decision. Harness that empathy by giving characters a clear, high-stakes dilemma that keeps them—and the reader—questioning which path they'll ultimately take.

External Conflict: The World Against the Character

External conflict is when an outside force, often a villain, nature, society, or fate, blindsides a character. This is the most obvious type of conflict and the route taken in traditional, action-driven plots. The Hunger Games by Suzanne Collins is a perfect example of external conflict as a driver. Katniss Everdeen is thrown into a life-and-death game by an oppressive government. It's fast-paced, and every victory and setback is shaped by forces beyond her control.

If a plot is propelled through a series of rising challenges that are mostly physical, you've achieved external conflict. The key—and it took me far longer than I am willing to admit to figure this out—is to bring in a force that's powerful enough to be a genuine threat. I once had my purse stolen on the streets of San Francisco. It sucked, but it didn't force me to do anything life-altering except call the bank and DMV. But a San Francisco earthquake that takes down a bridge and burns up half the city? That's the stuff of good storytelling.

Relational Conflict: The Drama Between People

Relational conflict is all the nastiness that erupts between characters, usually rooted in opposing desires, misunderstandings, or betrayal. Show me a reader who doesn't know what this feels like, and I'll show you nothing because that reader doesn't exist. I'm going to pull out the big Jane card here because Austen is the queen of relational conflict. Look no further than Elizabeth Bennet and Mr. Darcy in Pride and Prejudice. The romantic issues are the sole focus of the plot, and if ever there was a class called Miscommunication 101, Austen is on the syllabus. Relational conflict is supremely effective in stories focused on politics, romance, and social commentary.

Bring It All Together

The best of the best stories are a triple-threat, with all three styles of conflict coursing through the plot and subplots. Remember: Conflict isn’t only about making life hard for your characters—it’s about making your readers want to keep seeing what they do next. When done well, conflict doesn’t just move the story forward; it drives the characters’ evolution and gives the readers a reason to keep turning the pages.