Working the Theory Interpersonal Conflict Scenes

Interpersonal Conflict scenes reveal how the protagonist and love interest, if applicable, are affected by friends and foes. These conflicts test the protagonist’s friendships, loyalties, and will to continue.

This is your verbal camera focused on stage left. Interpersonal conflicts are the push and pull away from the action needed to solve the story problem by secondary characters.

Depending on the point of view, they can involve the friends and foes interacting with the protagonist, love interest, antagonist, or each other. Friends and foes can be used in any combination of scenes that fit with your story line. There will be both positive and negative interchanges with these characters.

Interpersonal scenes address subplots and side stories which should culminate before the climax, with everyone lined up and revealed to be on which side of the fight. Subplots should circle back to and intersect the external story problem. If they don’t, you should consider cutting them.

Secondary characters should have an agenda and stakes. They want to hide, reveal, provide, or take something away. Their personal goals may be at odds with the protagonist’s goal, or the antagonist’s goal. Their situation may complicate the overall story problem, intentionally or unintentionally.

If you are writing in third person omniscient or shifting point of view, you can use the different viewpoints to express the friends’ and foes’ thoughts and feelings or show them taking actions the protagonist would be unaware of.

Interpersonal scenes require the most flexibility depending on the point of view you choose, the number of subplots, and the length of the story. You should decide how many scenes each subplot requires, but they should not exceed the number dedicated to the main throughline. List notes for each subplot scene including inception, complications, and conclusion.

Let’s say that Jane is in love with Ted and wants to help him. Captain Curtis is in charge of the space shuttle. General Smith represents the military and controls the satellite. Bob is the ground crewman controlled by Ted. Jane works with Ted and Dick.

Interpersonal Conflict 1: Jane meets with Ted to declare her feelings before it is too late. He manipulates her into helping him without telling her the real reason.

Interpersonal Conflict 2: Jane meets with Dick and gives him erroneous data.

Interpersonal Conflict 3: General Smith argues that his satellite is too important to be used to adjust the meteor’s trajectory. It could cause more harm than good. They should blow it up.

Interpersonal Conflict 4: Bob tries to tinker with the satellite, but almost gets caught by Jane.

Interpersonal Conflict 5: General Smith relents and allows the satellite to be used.

Interpersonal Conflict 6: Captain Curtis balks at sending the laser to the space station.

Interpersonal Conflict 7: Captain Curtis appeals to his crew. Is anyone willing to go? Captain Curtis decides to go himself.

Interpersonal Conflict 8: Ted and Jane have a show down. Jane can’t believe Ted is so evil.

Interpersonal Conflict 9: Bob rats on Ted.

Interpersonal Conflict 10: Jane and Bob celebrate when the shuttle succeeds.

Interpersonal Conflict 11: General Smith tells Dick to stay. He is too valuable an asset to retire.

Next week, we look at Internal Conflict scenes.

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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 https://dianahurwitz.com/.