Working the Theory Internal Conflict Scenes

 

Internal Conflict scenes introduce and explore the personal dilemma your protagonist struggles with. The verbal camera is focused with a tight spotlight beaming on the protagonist in the background. Use these scenes to reveal the protagonist’s back-story and show him dealing with his guilt, pain, or need which leads up to and is resolved by his point of change.

These conflicts test the protagonist’s character and faith. They make him question who he is and what he does. These are the emotional complications or ties that bind that complicate the overall story problem.

If the love interest has equal weight, you can explore her personal dilemma and point of change in these scenes as well.

Internal conflict scenes can be flashbacks, dreams, and revelations of back-story through memories or an encounter with a friend or foe.

You can show him exhibiting one type of behavior in the beginning and a complete reversal of behavior at the end to show the point of change.

These scenes can reveal the event that happened in the past and how it changed him: he deals with the death of his partner, the loss of his wife, or the child he didn’t save.

The internal conflict often culminates in the section after the climax, where we find out if the protagonist lives happily ever after. It can also culminate just prior to the climax.

That does not mean other characters cannot be in these scenes or that he is not doing anything. It means the verbal camera is zeroed in on his thoughts, feelings, actions, and reactions to the underlying problem that drives him and complicates the overall story problem.

In this Thriller, Dick’s personal dilemma focuses on his marriage. His marriage is on the rocks because he is a workaholic. He had planned to retire but this latest crisis forces him to keep working.

Internal Conflict 1: Dick and Sally make plans to go on a long-awaited vacation. He gets a call.

Internal Conflict 2: Dick informs Sally that he isn’t retiring after all. He can’t tell her why.

Internal Conflict 3: Dick and Sally fight about the vacation. Looks like we’ll have to cancel it.

Internal Conflict 4: Sally gives Dick an ultimatum. “I’m tired of waiting. It’s me or the job.” Dick replies, “If I don’t do this there won’t be any me or you.” Sally asks, “What do you mean?” To which Dick replies, “I can’t tell you.”

Internal Conflict 5: Sally accuses Dick of having an affair with Jane at work. Dick is called away.

Internal Conflict 6: Dick finds Sally packing her bags. He begs, “Don’t leave. I love you. I’ve always loved you.” Sallies feels otherwise, “Then why are you ruining things?” Should he tell? Is it better for her to know or not know that their days might be numbered?

Internal Conflict 7: Sally tells Dick that she received a call from Ted and that he said there was no reason for Dick to stay at work. That he is lying to her.

Internal Conflict 8: Dick tells Sally the truth.

Internal Conflict 9: Dick and Sally spend the evening together knowing it may be their last.

Internal Conflict 10: Dick and Sally leave for the airport to go on their vacation.

In the next section, we will look at the best way to layer our scenes. 

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

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/.