Traditionally, conflict is a major element of narrative or dramatic structure that creates challenges in a story by adding uncertainty as to whether the goal will be achieved. In works of narrative, conflict is the challenge main characters need to solve to achieve their goals. However, narrative is not limited to a single conflict. In narrative, the term resolution refers to the closure or conclusion of the conflict, which may or may not occur by the story's end.
Conflict in literature refers to the different drives of the characters or forces involved. Conflict may be internal or external—that is, it may occur within a character's mind or between a character and exterior forces, (or point(s) of view). Conflict is most visible between two or more characters, usually a protagonist and an antagonist/enemy/villain, but can occur in many different forms. A character may as easily find themselves in conflict with a natural force, such as an animal or a weather event, like a hurricane. The literary purpose of conflict is to create tension in the story, making readers more interested by leaving them uncertain which of the characters or forces will prevail. [2]
There may be multiple points of conflict in a single story, as characters may have more than one desire or may struggle against more than one opposing force. [3] When a conflict is resolved and the reader discovers which force or character succeeds, it creates a sense of closure. [4] Conflicts may resolve at any point in a story, particularly where more than one conflict exists, but stories do not always resolve every conflict. If a story ends without resolving the main or major conflict(s), it is said to have an "open" ending. [5] Open endings, which can serve to ask the reader to consider the conflict more personally, may not satisfy them, but obvious conflict resolution may also leave readers disappointed in the story. [5] [6]
The basic types of conflict in fiction have been commonly codified as "man against man", "man against nature", and "man against self." [7] Although frequently cited, these three types of conflict are not universally accepted. Ayn Rand, for instance, argued that "man against nature" is not a conflict because nature has no free will and thus can make no choices. [8] Sometimes a fourth basic conflict is described, "man against society". [9] [10] Some of the other types of conflict referenced include "man against machine" ( The Terminator , Brave New World ), "man against fate" ( Oedipus Rex ), "man against the supernatural" ( The Shining ) and "man against God" ( A Canticle for Leibowitz ). [11] [12]
"Man against man" conflict involves stories where characters are against each other. [7] [9] This is an external conflict. The conflict may be direct opposition, as in a gunfight or a robbery, or it may be a more subtle conflict between the desires of two or more characters, as in a romance or a family epic. This type of conflict is very common in traditional literature, fairy tales and myths. [1] One example of the "man against man" conflict is the relationship struggles between the protagonist and the antagonist stepfather in This Boy's Life . [13] Other examples include Dorothy's struggles with the Wicked Witch of the West in The Wonderful Wizard of Oz and Tom Sawyer's confrontation with Injun Joe in The Adventures of Tom Sawyer . [1]
"Man against nature" conflict is an external struggle positioning the character against an animal or a force of nature, such as a storm or tornado or snow. [7] [9] The "man against nature" conflict is central to Ernest Hemingway's The Old Man and the Sea , where the protagonist contends against a marlin. [14] It is also common in adventure stories, including Robinson Crusoe. [1] The TV show Man vs. Wild takes its name from this conflict, featuring Bear Grylls and his attempts to survive nature.
With "man against self" conflict, the struggle is internal. [7] [9] A character must overcome their own nature or make a choice between two or more paths—good and evil; logic and emotion. A serious example of "man against himself" is offered by Hubert Selby Jr.'s 1978 novel Requiem for a Dream , which centers around stories of addiction. [15] In the novel Fight Club by Chuck Palahniuk, published in 1994, as well as in its 1999 film adaptation, the unnamed protagonist struggles against himself in what is revealed to be a case of dissociative identity disorder. [16] Bridget Jones's Diary also focuses on internal conflict, as the titular character deals with her own neuroses and self-doubts. [15]
Sometimes a fourth basic conflict is described, "man against society". [9] Where man stands against a man-made institution (such as slavery or bullying), "man against man" conflict may shade into "man against society". [11] In such stories, characters are forced to make moral choices or frustrated by social rules in meeting their own goals. [1] The Handmaid's Tale , The Man in the High Castle and Fahrenheit 451 are examples of "man against society" conflicts. [11] So is Charlotte's Web , in which the pig Wilbur fights for his survival against a society that raises pigs for food. [1]
As with other literary terms, these have come about gradually as descriptions of common narrative structures. Conflict was first described in ancient Greek literature as the agon , or central contest in tragedy. [3] According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter") and the antagonist (a more recent term), corresponding to the hero and villain. The outcome of the contest cannot be known in advance, and according to later critics such as Plutarch, the hero's struggle should be ennobling.
Even in modern non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch them. For example, in William Faulkner's The Bear, nature might be the antagonist. Even though it is an abstraction, natural creatures and the scenery oppose and resist the protagonist. In the same story, the young boy's doubts about himself provide an internal conflict, and they seem to overwhelm him.
Similarly, when godlike characters enter (e.g. Superman), correspondingly great villains have to be created, or natural weaknesses have to be invented, to allow the narrative to have drama. Alternatively, scenarios could be devised in which the character's godlike powers are constrained by some sort of code, or their respective antagonist.
A protagonist is the main character of a story. The protagonist makes key decisions that affect the plot, primarily influencing the story and propelling it forward, and is often the character who faces the most significant obstacles. If a story contains a subplot, or is a narrative made up of several stories, then each subplot may have its own protagonist.
In a literary work, film, or other narrative, the plot is the sequence of events in which each event affects the next one through the principle of cause-and-effect. The causal events of a plot can be thought of as a series of events linked by the connector "and so". Plots can vary from the simple—such as in a traditional ballad—to forming complex interwoven structures, with each part sometimes referred to as a subplot or imbroglio.
In fiction, a character is a person or other being in a narrative. The character may be entirely fictional or based on a real-life person, in which case the distinction of a "fictional" versus "real" character may be made. Derived from the Ancient Greek word χαρακτήρ, the English word dates from the Restoration, although it became widely used after its appearance in Tom Jones by Henry Fielding in 1749. From this, the sense of "a part played by an actor" developed. Character, particularly when enacted by an actor in the theater or cinema, involves "the illusion of being a human person". In literature, characters guide readers through their stories, helping them to understand plots and ponder themes. Since the end of the 18th century, the phrase "in character" has been used to describe an effective impersonation by an actor. Since the 19th century, the art of creating characters, as practiced by actors or writers, has been called characterization.
A plot device or plot mechanism is any technique in a narrative used to move the plot forward. A clichéd plot device may annoy the reader and a contrived or arbitrary device may confuse the reader, causing a loss of the suspension of disbelief. However, a well-crafted plot device, or one that emerges naturally from the setting or characters of the story, may be entirely accepted, or may even be unnoticed by the audience.
Action fiction is a literary genre that focuses on stories that involve high-stakes, high-energy, and fast-paced events. This genre includes a wide range of subgenres, such as spy novels, adventure stories, tales of terror and intrigue and mysteries. This kind of story utilizes suspense, the tension that is built up when the reader wishes to know how the conflict between the protagonist and antagonist is going to be resolved or what the solution to the puzzle of a thriller is.
Thriller is a genre of fiction with numerous, often overlapping, subgenres, including crime, horror, and detective fiction. Thrillers are characterized and defined by the moods they elicit, giving their audiences heightened feelings of suspense, excitement, surprise, anticipation and anxiety. This genre is well suited to film and television.
A narrative, story, or tale is any account of a series of related events or experiences, whether nonfictional or fictional. Narratives can be presented through a sequence of written or spoken words, through still or moving images, or through any combination of these. The word derives from the Latin verb narrare, which is derived from the adjective gnarus. The formal and literary process of constructing a narrative—narration—is one of the four traditional rhetorical modes of discourse, along with argumentation, description, and exposition. This is a somewhat distinct usage from narration in the narrower sense of a commentary used to convey a story. Many additional narrative techniques, particularly literary ones, are used to build and enhance any given story.
In fiction, a subplot or side story is a secondary strand of the plot that is a supporting side story for any story or for the main plot. Subplots may connect to main plots, in either time and place or thematic significance. Subplots often involve supporting characters, those besides the protagonist or antagonist. Subplots may also intertwine with the main plot at some point in a story.
Story structure or narrative structure is the recognizable or comprehensible way in which a narrative's different elements are unified, including in a particularly chosen order and often specifically referring to the ordering of the plot: the narrative series of events. In a play or work of theatre especially, this can be called dramatic structure, which is presented in audiovisual form. The following overviews how story structure works in a cross-cultural and general sense.
Narration is the use of a written or spoken commentary to convey a story to an audience. Narration is conveyed by a narrator: a specific person, or unspecified literary voice, developed by the creator of the story to deliver information to the audience, particularly about the plot: the series of events. Narration is a required element of all written stories, presenting the story in its entirety. However, narration is merely optional in most other storytelling formats, such as films, plays, television shows, and video games, in which the story can be conveyed through other means, like dialogue between characters or visual action.
An antagonist is a character in a story who is presented as the main enemy and rival of the protagonist.
A plot twist is a literary technique that introduces a radical change in the direction or expected outcome of the plot in a work of fiction. When it happens near the end of a story, it is known as a twist or surprise ending. It may change the audience's perception of the preceding events, or introduce a new conflict that places it in a different context. A plot twist may be foreshadowed, to prepare the audience to accept it, but it usually comes with some element of surprise. There are various methods used to execute a plot twist, such as withholding information from the audience, or misleading them with ambiguous or false information. Not every plot has a twist, but some have multiple lesser ones, and some are defined by a single major twist.
Agon is a Greek term for a conflict, struggle or contest. This could be a contest in athletics, in chariot or horse racing, or in music or literature at a public festival in ancient Greece. Agon is the word-forming element in 'agony', explaining the concept of agon(y) in tragedy by its fundamental characters, the protagonist and antagonist.
A log line or logline is a brief summary of a television program, film, short film or book, that states the central conflict of the story, often providing both a synopsis of the story's plot, and an emotional "hook" to stimulate interest. A one-sentence program summary in TV Guide is a log line. "A log line is a single sentence describing your entire story," however, "it is not a straight summary of the project. It goes to the heart of what a project is about in one or two sentences, defining the theme of the project...and suggest[ing] a bigger meaning." "A logline is a one-sentence summary of the story's main conflict. It is not a statement of theme but rather a premise."
Fiction writing is the composition of non-factual prose texts. Fictional writing often is produced as a story meant to entertain or convey an author's point of view. The result of this may be a short story, novel, novella, screenplay, or drama, which are all types of fictional writing styles. Different types of authors practice fictional writing, including novelists, playwrights, short story writers, radio dramatists and screenwriters.
In entertainment, an origin story is an account or backstory revealing how a character or group of people become a protagonist or antagonist.
Suspense is a state of anxiety or excitement caused by mysteriousness, uncertainty, doubt, or undecidedness. In a narrative work, suspense is the audience's excited anticipation about the plot or conflict, particularly as it affects a character for whom the audience feels sympathy. However, suspense is not exclusive to narratives.
A narrative hook is a literary technique in the opening of a story that "hooks" the reader's attention so that they will keep on reading. The "opening" may consist of several paragraphs for a short story, or several pages for a novel, but ideally it is the opening sentence in the book.
Violence in literature refers to the recurrent use of violence as a storytelling motif in classic and contemporary literature, both fiction and non-fiction. Depending on the nature of the narrative, violence can be represented either through graphic descriptions or psychological and emotional suffering. Historical literary eras have differed in their purposes for employing this thematic element, with some stories using it to symbolize a societal, psychological, or philosophical matter and others for the sole object of entertainment. Regardless of genre and period, literary violence has been a subject of controversy as it is often considered unethical and harmful for readers, particularly when it comes to juvenile literature.