Crafting 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 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, 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.

Exercise:

1) If you have a story idea, list ten ideas for events that will happen to reveal the protagonist’s personal dilemma. The first scene should introduce his personal dilemma. The last scene should resolve it. If you are dividing the scenes between protagonist and love interest, list ideas for scenes that introduce and resolve her personal dilemma.

In our continuing Thriller plot, 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.

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

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

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

4. Sally gives Dick an ultimatum. He asks for more time.

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

6. Dick finds Sally packing her bags and asks her to stay.

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.

8. Dick tells Sally the truth about the meteor.

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

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

2) If you already have a rough draft, save a copy of the draft as “Internal Conflict” and delete everything except the scenes that involve the protagonist’s internal dilemma. Are they in a logical cause and effect order? If not, can you revise them so that they are? Which order would best serve your plot?

3) How will the personal dilemma complicate the overall story problem? How is it resolved? 

The internal layer adds a personal touch to the story and allows the reader to gain sympathy for your protagonist.

Stay tuned for the summary on how all four layers work together.

Note: this post was originally published on www.bloodredpencil.blogspot.com

Crafting Interpersonal Conflict Scenes

We've discussed external conflict scenes and antagonist conflict scenes. The third layer explores interpersonal conflicts which test the protagonist’s friendships, loyalties, and will to continue. Your verbal camera is focused on stage left. Interpersonal conflict scenes 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. This layer addresses 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. Their personal goals may be at odds with the protagonist’s or  antagonist’s goal. Their situation may intentionally or unintentionally complicate the overall story problem. If you change POV, you can express the friends' and foes' thoughts and feelings or show them taking actions the protagonist is 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. It is easy to divide scenes among secondary characters.

Exercise:

A) List ideas for events involving secondary characters that help or hinder the protagonist or antagonist.

Continuing our meteor story, let’s say 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.

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.

2) Jane meets with Dick and gives him erroneous data.

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.

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

5) General Smith relents and allows the satellite to be used.

6) Captain Curtis balks at sending the laser to the space station.

7) Captain Curtis appeals to his crew. Is anyone willing to go? Captain Curtis decides to go himself.

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

9) Bob rats on Ted.

10) Jane and Bob celebrate when the shuttle succeeds.

11) General Smith tells Dick to stay. He is too valuable an asset to retire.

B) List the side stories or subplots you wish to explore. How do they tie into, overlap, or intersect the overall story problem?

C) List how each friend and foe enters and exits the story. How do they end up?

D) If you already have a rough draft, look at each scene. Save a copy of your draft as “Interpersonal Conflict” and delete everything except the interpersonal scenes. Examine how each scene affects the overall story problem. Are they in a logical cause and effect order? If not, can you revise them so that they are? Which order would best serve your plot?

E) Save a draft as each secondary character’s name. Delete everything but the scenes they appear in. What part did they play? Does it contribute to the story in a meaningful way? If not, consider cutting them.

Next time, we will look at Layer Four: Internal Conflict.

Note: this post was originally published on www.bloodredpencil.blogspot.com