Literary Alchemy: Ingredients of the Story – Conflict

A series designed to elevate your skills and empower you to write like a pro.

By Chrissy Hicks

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Since April is tornado season in Tennessee, it seemed a suitable time to examine this essential element of storytelling. Conflict is the struggle between opposing forces. We encounter this through mental battles and external forces.

Why use Conflict?

• A story without conflict is boring. Imagine if Yossarian never left the hospital in Joseph Heller’s Catch-22? For one, we wouldn’t have the classic novel that became a popular catchphrase. More importantly, it’d be a giant yawn. Who wants to read a story where nothing happens?

• Escalate tension and keep the reader on the edge of their seat. The type of conflict—its level of intensity—depends on genre. In literary fiction, internal struggles are often emphasized over external challenges, while in thrillers, although internal dilemmas are important, external conflict often takes center stage. Consider TJ Newman’s thriller, Falling, in which a pilot is given an impossible choice: crash his plane, killing hundreds, or witness the murder of his kidnapped family.

• Provide character insight. Internal conflict creates good use of interiority and helps us relate to characters. External conflict causes people to react, and these reactions show us their character and personality. In Michael Rigg’s Voices of the Elysian Fields, Jonathan Gray, a deputy coroner, struggles with grief over the traumatic loss of his child and anger at a broken, bureaucratic system (internal struggles), and fights through obstacles as he investigates connected events that reveals dark secrets within the city’s elite—people who will do anything to stop him (external battles).

• Art imitates life, and life is hard, complex, challenging, and conflicted. Simply put, conflict reflects real life. It’s intertwined with human experience. Not a day goes by without some sort of obstacle or difficulty, whether we like it or not. In my short story Baby’s Breath, a pregnant woman struggles to cope with an eating disorder while carrying her firstborn child, and deals with external pressure from a concerned boyfriend and the looming responsibility of motherhood. 

How and When to Use Conflict:

Conflict is the backbone of a good story. It forces characters to act; it can result from characters’ actions (or inactions), and it can come from anywhere, showing up in subtle or explicit ways. For the sake of example, I’ll split this section into two: Internal vs. External.

Internal

• Moral Dilemmas: Gray areas create drama. Bill Hoffman’s family was kidnapped—and he can do absolutely nothing about it because he’s flying a plane. But that’s not his biggest problem! The major conflict comes from the abductor’s ultimatum: the only way to save his family is to crash the plane. (Falling). 

Granted, not all moral dilemmas are this extreme. Take, for example, a young pregnant woman struggling with bulimia. A recent visit to the doctor reveals she’s losing weight. She promises she’ll eat more, but can’t overcome the bulimic urges, despite her desire to care for her unborn child. (Baby’s Breath). 

• Identity crises: Self-image, beliefs, and desires can create enough conflict to fill volumes. Yossarian constantly searches for connection and meaning in the face of war. In the chaos, he grapples with his identity as a soldier while overcome by fear. (Catch-22).

• Emotional struggles: Conflict reminds us we are less in control that we’d like to be, and some people will go to great lengths to avoid it. Instead of dealing with her past, Bella copes by bingeing and purging. “I’d been fine on my own, had everything under control, a high honors student on a fast track to pharmacy school; my bingeing and purging episodes perfectly strategized.” But the statement alone is contradictory—despite trying to convince herself and others she’s fine, Bella’s less in control that she believes. (Baby’s Breath). However, other characters find strength by turning their anger, sorrow, jealousy, or bitterness into action. Dr. Gray’s personal loss drives him to channel his heavy grief into activism. (Voices of Elysian Fields).

• Unreliable (or biased) Narrators: Do you swear to tell the whole truth and nothing but the truth? “Facts” told by a narrator aren’t often as black-and-white as presented, and an unreliable narrator can skew our perception, and the reality for those around them, creating conflict from their biases, lies, and little ‘t’ truths. Consider Rachel—an unemployed woman struggling with alcohol—who witnesses a shocking event that leads her to dig into a missing persons case, but can she trust what she saw? Or is her mind too far gone? (The Girl on the Train).

External

• People vs. People: Conflict can arise from characters’ actions or inactions. Aren’t we often the root of our own problems, too? Yossarian’s conflict isn’t just with the enemy he fights during WWII, but with those around him. He is constantly up against Cathcart, who represents the absurdity of bureaucracy, as well as Milo, who’s manipulative and solely focused on turning the war into a profit-gaining enterprise. (Catch-22).

• People vs. Society: This includes conflict stemming from cultural norms, traditions, or laws, economic wealth, or disparity. Dr. Gray contends with a bureaucratic system that has neglected the coroner’s office. Inadequate space leaves them dealing with bodies piling up (literally). His situation is exacerbated by corrupt politicians whom he suspects are at the core of a scandal. (Voices of Elysian Fields).

• People vs. Nature (Setting): Setting itself can be a character, and sometimes, an antagonist. In Cormac McCarthy’s The Road, the bleak, ash-covered landscape acts as an adversary. Throughout much of this story, father and son grapple with natural forces, and the environment emerges as a significant character. 

• People vs. Supernatural: Spirits, ghosts, demons—anything not of this realm can be a source of conflict for our characters. In Claire Fraise’s They Stay series, the protagonist is up against supernatural forces, and she interacts with ghosts (both friend and foe). These paranormal elements are the backbone of all conflicts within the series.

• People vs. Machine: With the ever-constant rise in technology, we see this form of conflict played out daily. When the pilot drifts in and out of consciousness, Jo battles to land a plane with instruction from the tower; in this instance, the machine (the plane) has become a grave antagonistic force and the stakes are heightened—if she fails, everyone dies. (Falling). 

Lookout! 

Observe how conflict unfolds in your favorite movies and books. Study both internal and external conflicts and how they play out. If the internal conflict isn’t stated or obvious, can you infer a character’s inner struggles based on their actions and reactions to outer circumstances? How does the author or director make use of this device? Was it effective? How can your understanding of what they did help you accomplish the same?

Prompt 

Develop a character facing two conflicting desires. Perhaps he wishes to be closer to his girlfriend, who’s moving to New York for a dream job, but doesn’t want to leave his quiet life on a Pennsylvania farm. Then, choose from the list of external conflicts above and add that element. Perhaps ghosts come to settle on the farmland, disrupting his peaceful life. Or just as his girlfriend lands in New York, an autonomous AI-controlled technological barrier encircles the entire state, preventing anyone from entering or leaving.

Further Reading: 

• https://literarydevices.net/what-is-the-main-conflict-a-quick-guide-for-writers/

• https://literarydevices.net/internal-conflict-explained-a-literary-device-for-writers/

• https://writershelpingwriters.net/thesaurus_sample/conflict-thesaurus-supercharge-your-story-with-225-conflict-scenarios/

• https://writershelpingwriters.net/2025/12/four-moments-when-you-should-hold-the-conflict/

• https://writershelpingwriters.net/2025/08/strengthen-your-story-with-conflict/

Drop the Pen! What Every Writer Should Know about Real Police Work: PTSD

By David Lane Williams

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This month, I thought I’d write about Post Traumatic Stress Disorder (PTSD) as it applies to first responders. I went back and forth about taking on such a serious topic, but my job in this column is to help you comprehend people like me so you can better understand the characters you’re creating. I just took a few deep breaths, and my head is right. Let’s dive in.  

I’ve been streaming The Pitt, a series set in a woefully short-staffed, often hostile, and always overcrowded emergency room in Pittsburgh. Each season tells the story of a single shift in a place where tragedies and miracles happen every hour, and the medical staff is composed of naïve rookies and burning-out veterans. It is a glorious series that has been in my head since the first episode.  

Other than taking a few unnecessary potshots at cops, it felt so real and accurate for me. It took me back to the glory and gore, the terror and elation in those early days working in Austin when AIDS didn’t even have a name yet, and gang violence swamped swaths of the city.

Our “Pitt” was Brackenridge Trauma Center—Brack—and this show hit those old vibes with an accuracy I’ve rarely seen in medical dramas. I experienced adrenaline dumps at some points, heartache at others. I became choked up during some scenes, glad to be alone with just my dogs and all those memories. One of the characters made a comment about crying: “Tears are just grief leaving the body.”

Amen. 

I don’t know a single police officer, paramedic, or firefighter who doesn’t have some emotional scarring after a few years on the job. Like a combat veteran, the carnage and cruelty can get to you after a while. Multiply that times a twenty, thirty, or longer-year career, and there is little to no chance of escaping without some damage. If you’re going to write about veteran first responders, you have to understand that this is part of the story. It doesn’t have to be front and center all the time, but your cop protagonist has a demon inside his brain, and the demon is always whispering. 

The trick is to learn coping skills, the earlier the better. It can be a nightmare if you don’t. Depression, anxiety, and suicide are all facets of the equation. Careers and marriages are cut short, and officers who had always performed rock-solid in the past make rash, bad decisions. 

I’ve always considered myself lucky. My symptoms include some mild anxiety when in public. People close to me notice that I look over my shoulder as I walk through a parking lot and scan the tops and higher windows of buildings. If I sleep on my back, I have nightmares of being attacked or of drowning, so I always place a pillow on either side of me in bed to stop from rolling supine in the middle of the night. I probably check door locks more than necessary, and I use cameras and motion-sensor lights around the perimeter of my house. 

Despite this, I still consider myself an optimist. While I harbor concerns about some humans, I remain hopeful for humanity. I believe our evolutionary path is leading inevitably toward a new species I like to call Homo Pacificus— Peaceful Man. I’m realistic we’re not there yet, but I believe our descendants will make us proud—even as they wonder how the hell we survived one another. 

I know cops who take a pistol with them into the bathroom and shower. They eat family dinners with one strapped to their ankle, and they get almost frantic if their wife forgets the family rule about always being on his off-hand side as they walk in public. They tend not to associate with others outside their police family because they have serious trust issues. 

Part of this trauma is related to specific cases. Perhaps the nightmares come from the images of destroyed children or a body charred in a house fire. Maybe the pain lingers from seeing a teenage girl ripped in two from a car wreck or a mother who committed suicide during a post-partum depression crisis. Maybe it’s from having to tell one too many parents that their child is never coming home again.

Irrational fear and anger can come from too many people treating the officer like the enemy or Satan for doing their job. Imagine starting a career with ambition and a passion to help, only to find you are not trusted or appreciated, and often despised. 

Then, of course, there are the life-shaking moments when someone tries to shoot you or gets the better of you in a deadly street fight. Winston Churchill is quoted as saying, “Nothing in life is so exhilarating as to be shot at without results.” 

He’s right. It’s thrilling to survive a close brush with death, but weeks, months, or years later, the thrill is gone, replaced with jagged nerves and trembling hands. It’s trauma, and it’s real, and it’s prevalent. 

So, how do first responders cope? Some, too many, crawl into a bottle or seek relief through opioids. Others live at the gym, where every rep of every set is a struggle just to keep the demon exhausted, so sleep will finally come. Some take the stress out on their spouses and kids, and others become hermits except when they’re on duty. 

Culturally, PTSD is kept at bay with dark humor. People who have died violently—especially those who were doing something stupid at the time—can be targets of the most obscene jokes back at the station. Someone who died in a fire is a “crispy critter,” and a motorcycle rider without a helmet is an “organ donor.” The only joke territory considered off limits is children. 

I know how appalling this sounds, but that obsidian-dark humor may be the most reliable and effective means of keeping more cops from hurting themselves and others. If you’re writing about a first responder, bleak humor has to be part of the package. Humor bonds first responders, and sarcasm can keep them sane.

As I mentioned, I’m one of the lucky ones. I have a knack for putting bad thoughts in a file cabinet and closing the drawer. As I write this, I know that comes off as denial. I think of myself, however, as an empathetic human being who wants everyone to be safe and feel safe. That can’t always happen, so my ability to put sad or tragic thoughts away for a while has been beneficial. I know there are therapists and care providers out there who just groaned. I’m aware that shutting haunting thoughts deep into the recesses of my mind might not be the best long-term practice, yet I could also argue it has worked well in my life for four decades. 

I used to carry a little bottle of soap bubbles in my duty jump bag. The kind kids blow at birthday parties. Sometimes I’d pull into a secluded area such as a park or an empty drive-in theater when all the filmgoers had gone home. I would then stand outside my car and blow bubbles, watching them rise and fade in the dark. This practice had a way of taking the edge off whatever stress I’d been fighting. Four, five, maybe six bubble blows later, I’d be ready for whatever the Dispatch Center sent me on next. I never shared this with my colleagues—no one needs a nickname like “Bubbles” in a police squad room—but it was a coping mechanism that worked for me. 

I continue to be proactive in retirement. I exercise six to seven days a week, and I only hang around with people who are healthy, balanced, and humorous. Writing is about the best medicine for me. I don’t self-medicate with opioids, and I am not much of a drinker. I have a wife who cares about me, checks in, and listens. My veteran sons understand me about as well as anyone could, and I am surrounded by family and friends who I know will always be by my side. 

I believe PTSD is like sludgy sewage that has been dumped into a river. It is awful and destructive, but given time, coupled with being around good people and action designed to mitigate the pollutants, the river can clear the toxins. 

Your protagonist has PTSD in some form—why do you think there are so many alcoholic private detectives out there in noir land? I am convinced that writers who keep this in mind create deeper and far more interesting characters. 

And just in case you were thinking about having your guy blow bubbles, I’ve already called dibs on that one.  

Onward.