The Four Layers of Conflict

"Every scene should contain conflict."

This advice led me on a journey to answer the question, “How do you come up with conflict for every scene?” 

I developed the four layer method when crafting my YA series Mythikas Island. There were four books. Each character (Diana, Athena, Persephone, and Aphrodite) had their own story arc and acted as the point of view character in their installment of the four book journey. However, there was no one "bad guy" in the book. So how could I make the story tense without a villain or major battle scenes between good and evil?

As I read and studied, I realized there was another way of looking at conflict in a story. There were different types of conflict in the books, movies, and TV shows I dissected. Many did not have a central villain.

The result is the Four Layer of Conflict method which takes writers from “I have an idea” to the actual nuts and bolts of “I have the required scenes and all pull their weight.” This method can help new writers complete their first novel and offers experienced writers another way of looking at structure.

The first layer is the External conflict layer which focuses on the central conflict of the story. There are times when the characters make progress toward the goal and times when they fail and have to regroup. These are the big battle scenes or the high tension emotional tipping points. They include the inciting event that starts the story ball rolling and all the key scenes that encompass the twists and turning points and the climactic moment.

The Antagonist layer involves scenes where the antagonist and his minions are enacting or plotting their side of the battle or the protagonist and antagonist are in direct conflict. It can be antagonist forces such as weather, terrain, organizations, etc. Whatever, or whoever, is the main source of resistance that stands in the protagonist's way. The POV used depends on the focus of the scene. If you follow only the protagonist, then this is their encounter with minions or friction with the antagonist leading to the main turning points. If you follow the antagonist or other characters, these scenes can follow the antagonist working their plan or interacting with other characters.

The Interpersonal layer involves the friends and foes, perhaps the love interest if it isn't a Romance. These cast members aid and abet or derail the protagonist's efforts to reach the overall problem goal. Sometimes secondary characters have their own arc. This layer follows their detours which will require extra interpersonal scenes.

The Internal layer follows the inner conflict of the protagonist. They often have internal resistance to taking on the challenge. It follows the hero wrestling with his conscience. He may not feel worthy or strong enough. Sometimes their personal life interferes with the challenge, an illness or addiction that makes winning seem unlikely. It is sometimes divided loyalties or a problematic relationship. This is the protagonist's personal crisis moment. Do they have what it takes? Should they quit? Should they leave it alone and take care of other problems? Not all stories have an internal layer. This is often left out of Horror stories. I think it is stronger if present.

If you interweave multiple story threads, each may have its own four layers. Perhaps it is a past versus present story or multiple characters that come together at the end. There are many ways to utilize the building blocks. Later we will look at how they play out in each genre.

Next, we look at how the layers can be utilized to develop a story.

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on http://dianahurwitz.com.

As always, if you find the information useful, please like and share.